Sound Of Music Script ( 1)

OND onmsic

Music by
RICHARD RODGERS

Lyrics by
OSCAR HAMMERSTEIN II

Book by

Howard Lindsay and Russel Crouse
Suggested by “The Story of the Trapp Family Singers”

Orchestrations by Robert Russell Bennett
Choral Arrangements by ‘Trude Rittman

‘capi ©1960 by ta Re, rar Heme ond indy and Re ime tern Capi Se
ALL ROGHTS RESERVED.

Copyright ©, as an unpublished work, 1960 by
Howard Lindsay and Russel Crouse

right ©, 1960, by Richard Rodgers, Oscar Hammerstein II,
Howard Lindsay and Russel Crouse

Coy

Lyries from musical compositions Copyright ©, 1959
by Richard Rodgers and Osear Hammerstein I
Williamson Musie, Ine., owner of publication and allied
rights throughout the world,

International copyright secured, All rights reserved,
Unauthorized copying, arranging, recording or public
performance is an infringement of copyright.
Infringers are liable under the law

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CAST OF CHARACTERS

Maria Rainer, a Postulant at Nonnberg Abbey
‘The Mother Abbe:
Sister Berthe, Mistress of Novi

Ss

Sister Margaretta, Mistress of Postulants
Sister Sophia

Captain Georg von Trapp

Franz, the butler

Frau Schmidt, the housekeeper

Liesl, age 16

Friedrich, age 14

Louisa, age 13

Kurt, age 10 The Children of Captain von Trapp
Brigitta, age 9
Marta, age 7

Gretl, the youngest

Rolf Gruber, age 17
Elsa Schraeder

Ursula

Max Detweiler

Hert Zeller

Baron Flberfeld

A New Postulant
Admiral von Schreiber

‘Neighbors of Captain von Trapp, nuns, novices, postulants, and
contestants at the Festival Concert

MUSICAL SYNOPSIS

ACTI

Scene_1: The Nonnberg Abbey

Preludium. ‘The Nuns of the Nonnberg Abbey
Scene 2: A Mountainside Near the Abbey

The Sound of Music a s Maria
‘Scene 3: The Office of the Mother Abbess, the next moming

Maria Sisters Berthe, Sophia, Margaretta and Mother Abbess

My Favorite Things so... ssn» Maria and Mother Abbess

‘Scene 4: A Corridor in the Abbey
Reprise: My Favorite Things. wi sve Marin
scene 5: The Living Room of the Trapp Villa, that aftemoon
Do-Re-MI Maria and the von Trapp Children
Scene 6: Outside the Villa, that evening

Sixteen Going On Seventeen aia Rolf and Lies!
Scene 7: Maria's Bedroom, later that evening

The Lonely Goatherd. ‘Maria and the Children
Scene 8:_A Hallway in the Villa

Reprise: The Lonely Goatherd 0... : Gretl
Scene 9: The Terrace of the Villa, six weeks later

How Can Love Survive? so Max, Elsa and Capt. von Trapp

Reprise: The Sound of Music. The Children and Capt, von Trapp
Scene 10: A Hallway in the Villa, one week later
‘Scene 11: The Living Room, the same evening

So Long, Farewell so... ‘The Children
‘Scene 12: A Corridor in the Abbey

Moming Hymn ‘The Nuns

Scene 13: The Office of the Mother Abbess, three days later
Climb Ev'ry Mowntaia ‘Mother Abbess and the Nuns

ACTIL

Scene 1: The Terrace, the same day

Reprise: My Favorite Things... --wsns The Children and Maria
No Way To Stop It Elsa, Max and Capt. von Trapp
An Ordinary Couple ssnesenmnme Maria and Capt. von Trapp

‘Scene 2: A Corridor in the Abbey, two weeks later
icene 3: The Office of the Mother Abbess, immediately following
Gadeamus Domino 0.0 si senneeee The Nuns

Scene 4: A Cloister Overlooking the Chapel

Reprise: Maria. The Nuns

Confitemini Domino... - ‘The Nuns
Scene : The Living Room, one month later

Reprise: Sixteen Going On Seventeen... Maria and Liesl
Scene 6: The Concert Hall Stage, three days later

Reprise: Do-Re-Mi....0...0..- Maria, Capt, von Trapp and the Children

Edelweiss. Capt. von Trapp, Maria and the Children

Reprise: So Long, Farewell... Matia, the Children and Capt. von Trapp

‘Scene 7: The Garden of the Abbey, that night

Finale Ultimo. ae sous The Company

ACT I
Scenel
Prelude

NONNBERG ABBEY. As the theatre darkens we hear
the bells of Nonnberg Abbey. When the theatre is com-
pletely dark the sound of the bells fades and we hear fem-
inine voices chanting “Dixit Dominus.”

SOLO. Dixit dominus domino meo:
Sede a dextris meis

the

(In the darkness the curtain has risen and slowl:
lights come up on the interior of Nonnberg Abbey. There is
an altar with its lighted candles on one side, in the rear
are vaulted arches and in the back wall a stained glass
uindow. Across the stage, below all this, is a metal grille
work. The singing continues:)

RESPONSE: Donec ponam inimicos tuos,
Scabelleum pedum tuorum
SOLO Dominus 2 dextris tuis
Confregit in die irae suae reges.
RESPONSE: De torrente in via bibet
Propterea in exaltabit caput.
SOLO: Gloria Patri, et Filio,
Et Spiritui Sancto.
RESPONSE: Sicut erat in principio,
et nunc, et semper,
et in saecula saeculorum. Amen.
Rex admirabilis,
Et triumphator nobilis,
Dulcedo ineffabilis,
Totus desiderabilis,
Totus desiderabilis

(During the chanting some nuns have approached the
altar and knelt in prayer. Others have crossed in front of
the grille, one earrying milk pails on a shoulder-yoke,
another a large laundry basket, three or four with musical
instruments. We hear the Angelus bells. All of the nuns
kneel, bow their heads, crass themselves, then rise and go
on about their business. The singing changes to ‘“‘Alle-
luia.”” SISTER BERTHE enters with a notebook and pencil.
As the nuns and postulants come on from various directions
and pass her she checks their names off in the book. There
seems to be someone missing. The singing has stopped and
now we hear the voices of nuns coming from all over the
Abbey.)

VOICES: (As the lights dim out)
Have you seen Maria?
Isn’t Maria back yet?
Where could Maria be?
Where’s Maria?
Maria!
Maria! Maria!
Maria! Maria! Maria!

(Dim Out)

ACTI
Scene 2

A mountainside near the Abbey. In the distance we see
other mountains and Austrian countryside. Downstage is a
large tree. MARIA is lyingon her back at the base of the
base of the tree. Although she is dressed as a postulant,
her position, with one foot high in the air and her petti-

coat showing, is unpostulant-like. She sits up, looks
around and starts to sing,
MARIA: My day in the hills
Has come to an end, I know.
A star has come out
To tell me it’s time to go.
But deep in the dark green shadows
‘Are voices that urge me to stay.
So I pause and I wait and I listen
For one more sound,
Forone more lovely thing
That the hills might say. . .

The hills are alive
With the sound of music,
With songs they have sung
For a thousand years.

The hills fill my heart
With the sound of music—
My heart wants to sing
Every song it hears.

My heart wants to beat
Like the wings

Of the birds that rise

From the lake to the trees.
My heart wants to sigh
Like a chime that flies
From a church on a breeze,
To laugh like a brook
When it trips and falls
Over stones in its way,

MARIA: To sing through the night
(Cont’d.) Like a lark who is learning to pray.

Igo to the hills

When my heart is lonely ,

T know T will hear

What I’ve heard before,

My heart will be blessed

With the sound of music

And I’ll sing once more.

(The lights dim out and the traveller closes. SISTER

SOPHIA enters below the traveller and crosses the stage
carrying a large ring of keys.)

Seene 3

The office of the Mother Abbess. The spares ness of
the furniture gives the sense of monastic austerity. There
is adesk center, an armchair on one side, a stool on the
other, a prie-dieu a short distance away. There is a door
on either side of the room. On the desk: inkstand and pen
and some papers inside a portfolio. Discovered are the
MOTHER ABBESS, SISTER BERTHE and SISTER
MARGARETTA. The MOTHER ABBESS, seated at left of
desk is consulting a list of names on a sheet of paper.
SISTER BERTHE, standing R. of desk, is holding in her
hands a small black book and a pencil. SISTER MAR-
GARETTA, standing R. of SISTER BERTHE, but apart,
has her hands folded beneath the panel on the front of her
habit. N.B. Nuns, when their hands are not employed, al-
ways keep them out of sight beneath the panel of their
habit,

MOTHER ABBESS: I think we should be pleased with our
efforts. Out of twenty-eight postulants, sixteen or sev-
enteen are ready to enter the novitiate. Let’s consider
the doubtful ones again. There’s Irmagard

BERTHE: Reverend Mother, there’s no doubt about Irma-
gard—the religious life is no place for the pious

MOTHER ABBESS: You mean the pretentiously pious, Sis-
ter Berthe, There’s Christina—and there’s Maria

BERTHE: Well, after last night I don’t think there can be
any doubt in the Reverend Mother’s mind about Maria.

MOTHER ABBESS: I gave her permission to leave the
Abbey for the day.

MARGARETTA: (R. of BERTHE) | told you, Sister Berthe—

(There is a knock on the door.)

MOTHER ABBESS: Ave!

(SISTER SOPHIA enters, comes to above desk.)

SOPHIA: Reverend Mother, I’ve brought Maria. She’s
waiting.

MOTHER ABBESS: Sister Sophia, the Mistress of the
Postulants and the Mistress of the Novices do not see
eye to eye about Maria. How do you feel about her?

SOPHIA; I love her very dearly. But she always seems to
be in trouble, doesn’t she?

BERTHE: (Crosses D.L.) Exactly what I say! (She sings.)

She climbs a tree and scrapes her knee,
Her dress has got a tear.

SOPHIA: She waltzes on her way to Mass
‘And whistles on the stair.
BERTHE: And underneath her wimple
She has curlers in her hair.
SOPHIA: I've even heard her singing in the Abbey!

(BERTHE moves to MOTHER ABBESS.)

-10-

BERTHE: She's always late for chapel~
SOPHIA: But her penitance is real.
BERTHE She's always late for everything

Except for every meal

Thate to say it

But I very firmly feel
BERTHE and SOPHIA:

Maria’s not an asset to the Abbey.
MARGARETTA.

I'd like to say a word in her behalf—

(Crosses to desk.)

MOTHER ABBESS: (Speaks) Then say it, Sister Margaretta
MARGARETTA: Maria... makesme. . . laugh!

(AU look at SISTER BERTHE, then look front.)
SOPHIA: How do you solve a problem like Maria?
MOTHER ABBESS:

How do you catch a cloud and pin it down?
MARGARETTA; How do you find a word that means Maria?
BERTHE: (Raising both hands)

A flibbertijibbet!
SOPHIA: (Raising both hands)

A will-o'-wisp!
MARGARETTA: (Raising both hands)

A clown!
MOTHER ABBESS:

Many a thing you know you'd like to tell her,
(Crosses D.S.R,/Many a thing she ought to understand.
MARGARETTA: But how do you make her stay (Crosses L.
to MOTHER A.) And listen to all you say?
MOTHER How do you keep @ wave upon the sand?
ABBESS: (Crosses C.S.)
MARGARETTA; Oh, how do you solve a problem like Maria?
MOTHER How do you hold a moonbeam in your hand?
ABBESS: (Raising both hands. }
MARGARETTA: When I'm with her I’m confused, (Crosses

Su

R. of MOTHER ABBESS.)
Out of focus and bemused,
And I never know exactly where I am,
BERTHE: (Crosses L. of MOTHER ABBESS).
Unpredictable as weather,
She's as flighty as a feather,
(MOTHER ABBESS backs up a step.)
MARGARETTA: (To SISTER BERTHE)
She's a darling
BERTHE: (To SISTER MARGARETTA)
She’s a demon
MARGARETTA: (To SISTER BERTHE)
She’s a lamb.
SOPHIA: (Crosses L. of SISTER BERTHE)
She'll out-pester any pest,
Drive a hornet from his nest,
BERTHE: __ She could throw a whirling dervish out of whirl
MARGARETTA; She is gentle,
She is wild, (Raising both hands.)

SOPHIA: She’s a tiddle.
She’s a child. (Raising both hands.)
BERTHE: _ She’s a headache! (Raising both hands.)
MARGARETTA: (Dropping her hands)
She’s an angel.
MOTHER ABBESS:
She’s a girl. .
ALL: (Looking front—On count of 8, all clasp hands at
chest, look up in prayer)
How do you solve a problem like Maria?
How do you catch a cloud and pin it down?
How do you find a word that means Maria?
MARGARETTA: (Crosses S.R.)
A flibbertijibbet,
SOPHIA: (Crosses S.L.)
A will-o’-the-wisp,

-12-

BERTHE: (Crosses S.R.)
A clown.
ALL. Many a thing you know you’d like to tell her,
Many a thing she ought to understand
(SISTER SOPHIA crosses to MOTHER ABBE.
MOTHER ABBESS:
But how do you make her stay?
(SISTER BERTHE crosses to stool R. of table.)
SOPHIA: And listen to all you say?
(SISTER BERTHE sits down.)
MARGARETTA
How do you keep a wave upon the sand?
ALL How do you solve a problem like Maria?
How do you hold a moonbeam in your hand?
(On “hold,” All hold out both hands.)

BERTHE: Reverend Mother, may I just

MOTHER ABBESS: Now, my children, I think I should talk
to Maria instead of about her. | am grateful to you all
(The three sisters bow and exit U.R. There is aknock

on the S.R. door. MOTHER ABBESS rises.) Ave! (MARIA

enters. She has her arms folded across her chest with her
hands concealed beneath the short cape of her habit.)

Come here, my child. (MARIA crosses D.C., kneels and

kisses MOTHER ABBESS’ ring.) Sit down, Maria, | want

to talk to you. (MARIA sits on stool R. of desk.)

MARIA: Yes—about last night. Reverend Mother, I was on
my knees most of the night because I was late~and
after you’d been so kind and given me permission to
Jeave. . .

MOTHER ABBESS: (Sits L. of desk) It wasn’t about your
being late, Maria. . .

MARIA: I must have awakened half the Abbey before Sister
Margaretta heard me and opened the gate.

-13-

MOTHER ABBESS: Maria, very few of us were asleep. We
could only think that you had lost your way—and to be
lost at night on that mountain!

MARIA: Reverend Mother, I couldn't be lost on that moun-
tain. That’s my mountain. I was brought up on it! It
was that mountain that brought me to you

MOTHER ABBESS: Oh, . . ?

MARIA: When I was a little girl I used to come down the
mountain, climb a tree and look over into your garden.
I'd see the sisters at work, and I’d hear them sing on
their way to vespers. Many times I went back up that
mountain in the dark—singing all the way. (MARIA
clasps her hands together and raises them ubove her
head in an exuberant ges ture. Then she catches her-
self, gives a guilty glance toward the MOTHER AB-
BESS, and puts her hands back beneath her cape.) And
that brings up another transgression—I was singing yes
terday—and I was singing without your permission.

MOTHER ABBESS: Maria, it’s only here in the Abbey that
there is a rule about singing.

MARIA; That’s the hardest rule of all for me. Sister Mar.
garetta is always reminding me—but too late, after I’ve
started singing.

MOTHER ABBESS: And the day you were singing in the
garden at the top of your voice.

MARIA: But Mother, it’s that kind of song,

MOTHER ABBESS: I came to the window and when you
saw me you stopped.

MARIA: Yes-that’s been on my mind ever since it hap-
pened.

MOTHER ABBESS: It’s been on my mind, too. I wish you
hadn’t stopped, I used to sing that song when I was a
child, and I can’t quite remember—Please—

-14-

(She gestures to MARIA to sing.)
MARIA: (Sitting, facing front, sings)
Raindrops on roses and whiskers on kittens,
Bright copper kettles and warm woolen
mittens,
(MOTHER ABBESS starts to write.)
Brown paper packages tied up with strings—
These are a few of my favorite things.
(MOTHER ABBESS motions MARIA to rise. MARIA
drops her hands, rises, takes stage and enjoys herself.)
Cream colored ponies and crisp apple
strudels,
Doorbells and sleigh bells and schnitzel
with noodles,
Wild geese that fly with the moon on their
wings—
These are a few of my favorite things.

Girls in white dresses with blue satin
sashes,

Snowflakes that stay on my nose and eye-
lashes,

Silver-white winters that melt into springs—

These are a few of my favorite things.

When the dog bites,

When the bee stings,

When I’m feeling sad,

I simply remember my favorite things

And then I don’t feel so bad!
(Slaps desk for emphasis. Then looks embarassed.)

MOTHER ABBESS: (Taps with her pencil)

Raindrops on roses and whiskers on kittens,

(Rises, crosses D.L.)

as

MOTHER ABBESS
(Cont'd. } Bright copper kettles and watm woolen
mittens,
Brown paper packages tied up with strings
These are a few of my favorite things.

Cream colored ponies and crisp apple
strudels,
Doorbells and sleigh bells and schnitzel
with noodles, (Crosses S.R.)
Wild geese that fly with the moon on their
wings (MAKIA sits D.S, edge of table.)
These are a few of my favorite things.
(MOTHER ABBESS looks at MARIA, who jumps off
table.) Girls in white dresses with blue satin
sashes,
Snowflakes that stay on my nose and eye-
lashes,
Silver-white winters that melt into springs—
These are a few of my favorite things.

When the dog bites,
(Crosses C.S.-MARIA has back to audience.)
When the bee stings,
When I’m feeling sad,
T simply remember my favorite things
And then I don’t feel so bad!
MARIA: When the dog bites,
MOTHER ABBESS:
When the bee stings,
BOTH: When I’m feeling sad;
(MOTHER ABBESS takes MARIA’S right hand.)
I simply remember my favorite things
And then I don’t feel so bad!

-16-

(Swinging their arms 8 times, they end with their
hands above their heads.)

MARIA: (D.C., R. of MOTHER ABBESS) Mother! We were
both singing at the top of our voices

MOTHER ABBESS: (Crosses above desk to L. of chair)
You're tight. It’s that kind of a song.

MARIA: And singing it always makes me feel better.
Mother, where did you learn that song?

MOTHER ABBESS: I was brought up in the mountains my-
self, (Motions MARIA to sit R. of desk.) Maria. . . in
spite of what you saw over the Abbey wall, you weren't
prepared for the way we live, were you? (Sits L. of
desk.)

MARIA: No, Mother, but I pray and I try.

MOTHER ABBESS: Tell me, Maria, what is the most im-
portant lesson you've learned here?

MARIA: To find out what is the will of God and to do it

MOTHER ABBESS: Even if it is hard to accept?

MARIA: Even then,

MOTHER ABBESS: (Rises, crosses D.L.C.) Maria, the
dress you wore when you came to us-is that still in
the robing room?

MARIA: Why, no, Mother, I'm sure that’s been given to the
poor, Sister Margaretta said that when we enter the
Abbey our worldly clothes. . . Reverend Mother, why
do you ask?

MOTHER ABBESS: (Crosses to below L. chair) Maria, it
seems to be the will of God that you leave us

MARIA: Leave! Leave here! (Rises) Oh, no! Mother,
please no!

MOTHER ABBESS: For a while only, Maria.

MARIA: Don’t send me away, Mother, please. This is what
I want, This is my life.

=17=

MOTHER ABBESS: But are you ready for it? Perhaps if
you go out into the world again for a time you will re-
turn to us knowing what we expect of you and that we
do expect it.

MARIA: | know what you expect, Mother, and I’ll do it. T
promise

MOTHER ABBESS: Maria.

MARIA: If it is God’s will. Where am I to go?

MOTHER ABBESS: There’s a family—a family of seven
children— (Sits L, of desk.) you like children-you're
very good with them, They need a governess until
September

MARIA: Until September!

MOTHER ABBESS: (Writing an address on paper) Captain
von Trapp expects you this afternoon, He’s a fine man
—and a brave one, He was given the Maria Teresa medal
by the Emperor. It was for heroism in the Adriatic.

MARIA: A Captain in the Navy! Oh, Mother, he’ll be very
strict.

MOTHER ABBESS: You're not being sent to his battleship.
(She hands MARIA the adress. Abbey bells are heard.
MARIA kneels, The MOTHER ABBESS makes the sign
of the cross on MARIA’S forehead. ) God bless you,
Maria. (She starts out.)

MARIA: Reverend Mother? Have I your permission to sing?

MOTHER ABBESS: Yes, my child. (She exits L. MARIA
rises, She looks about the room regretfully, then starts
aut singing to herself.)

MARIA: These are a few of my favorite things.

(SISTER BERTHE enters. She gives MARIA a reproach-
ful look. MARIA stops singing and draws herself up spunk-
ily.) Lhave been given permission to sing. (MARIA exits R.
quickly. The Traveller Closes)

-18-

ACT I
Scene 4

4 corridor in the Abbey. MARIA enters D.R. and sings
as she crosses the stage
MARIA: (Singing)
Brown paper packages tied up with strings—
These are a few of my favorite things.
Girls in white dresses with blue satin
sashes,
Snowflakes that stay on my nose and eye
lashes,
Silver-white winters that melt into springs—
These are a few of my favorite things
(SISTER MARGARETTA enters D.L. from the opposite
side and they pass each other center stage.)
When the dog bites,
When the bee stings,
When I’m feeling sad,
I simply remember my favorite things
And then I don’t feel so bad!
(MARIA exits D.L.)
MARGARETTA: (Shaking her head and singing)
How do you hold a moonbeam in your hand?
(She exits D.R. Dim Out)

ACT

Scene 5
The living room of the Trapp villa. It is a beautiful

large room, two stories high, baroque in style and hand-
somely furnished. D.L. there is a door to the dining room,

-19-

above this are two large French windows, opening on a
terrace. Through these windows can be seen a mountain

not too far in the distance, Between the two windows is a
magnificent porcelain stove. D.R. is a door to the CAP-
TAIN'S library. Upstage of this door a circular stairway
curves to a second-floor landing, which forms a small
baleony over the back of the living room. There is an exit,
R., on the baleony, presumably leading to the other rooms
on this floor. On the left of the balcony we see the first few
steps of a curved staircase to the third floor. On the ground
floor, upstage under the balcony, are double doors opening
on the hallway which leads to the outer door of the house.
off R. In the curve of the staircase are a small table and u
side chair. Stage Left there is a sofa with a single chair at
its right. A moment after the curtain has risen CAPTAIN
GEORG VON TRAPP enters on the balcony from the R. He
is dressed informally and is scanning a letter which he is
holding in his hand. He stops at the railing of the balcony,
takes a silver boatswain’s whistle from his pocket and
blows « distinctive signal on it, He waits a few seconds
and, as no one answers, he repeats the signal. Then he
starts down the stairs, Halfway down, seeing no one has
appeared, he blows a different signal. Almost immediately,
FRANZ, the butler, enters D.L. He is a man of middle-age
who was previously the CAPTAIN'S orderly in the Imperial
Navy. He is dressed in a bulter’s working apron, is wearing
gloves and is carrying a metal tray and a polishing cloth.
FRANZ: Yes, sir?
CAPTAIN: I was calling the housekeeper and she didn’t
answer. Do you know why?
FRANZ: Sometimes she doesn’t hear, sir.
FRAU SCHMIDT: (Entering D.R.) 'm sorry, sir, | was an

-20—

swering the telephone, Good day, sir. We're happy to have
you home again.

CAPTAIN: Why did the last governess leave?

FRAU SCHMIDT; Who knows? She just said, “I’ve had
enough of this,” and walked out

CAPTAIN: Why? Was Louisa playing tricks again?— Putt-
ing toads in her bed?

FRAU SCHMIDT; She didn’t complain of that, sir.

CAPTAIN: (Crosses L., reading letter) Well, there’s an-
other one coming today, And this one can’t walk out

FRAU SCHMIDT: Oh?

CAPTAIN: She's coming from Nonnberg Abbey with orders
to stay until September.

FRAU SCHMIDT: I hope you’ll be at home for a time, sir.

CAPTAIN: Just until tomorrow. The telephone call—was it
for me?

FRAU SCHMIDT: No, sir, it was for Franz, Before you ar-
tived there was a call from Vienna—a Frau Schraeder
Ihave the number in the pantry

CAPTAIN; (Crosses D.R.) I know the number. Oh, I shall
be back in about a month with some guests.

FRAU SCHMIDT: Yes, sir. Do you know how many, sir?

CAPTAIN: Just two. Herr Detweiler—

FRANZ: Ah, Her Detweiler.

CAPTAIN: And Frau Schraeder. (He exits D.R.)

FRANZ; Who wanted me on the telephone?

FRAU SCHMIDT: It was the post office. They’ve got a
telegram for you, It will be delivered at seven o'clock.

FRANZ: Seven o’clock? That gives me five hours to be
nervous.

FRAU SCHMIDT: (Going up stairs) With that scatter-
brained boy delivering telegrams—

FRANZ: Well, that's one thing people are saying—if the
Germans did take over Austria, we'd have efficiency.

—21-

FRAU SCHMIDT: Don't let the Captain hear you say that
(The CAPTAIN whistles offstage. FRAU SCHMIDT
stops short, bristling.) He didn’t whistle for us when
his wife was alive.

FRANZ: He’s being the captain of a ship again.

(The CAPTAIN whistles again.)

FRAU SCHMIDT: | can’t bear being whistled for—it’s
humiliating

FRANZ: In the Imperial Navy, the bo’s’un always whis-
tled for us. (We hear the doorbell.)

FRAU SCHMIDT; But I wasn't in the Imperial Navy

FRANZ: Too bad, You could have made a fortune. (Ie
exits into the hallway toward the outer door. FRAU
SCHMIDT comes down the stairs and exits into the ti-
brary D.R. FRANZ re-enters, followed by MARIA.) You
will wait here. (He exits D.R. MARIA is wearing a
dress that has been designed by an enemy of the fe-
male sex, and an unbecoming hat. She is carrying a
small carpet bag aud a guitar in its case. She comes
down into the room timidly and looks around in awe at
the handsome embellishments. Ske puts the guitar case
doun on the floor and starts toward the windows, touch-
ing the porcelain stove admiringly as she passes it
In the distance we hear the Abbey bells. She kneels and
bows her head in a brief prayer. The CAPTAIN enters
from the library D.R., the letter still in his hand. As he
sees MARIA in prayer, he stops. MARIA crosses her-
self and rises.)

CAPTAIN: l’m Captain von Trapp. You are Fraulein.

MARIA: Maria—Maria Rainer.

CAPTAIN: Now, Fraulein, as to your duties here-(He
suddenly becomes aware of her dress.) Would you mind
stepping over there? (Ie indicates a spot in the center

-22-

)

of the room. MARIA slouly moves to it.) Before the
children meet you, you will put on another dress.

MARIA: | haven’t any other dress When we enter the Ab-
bey our worldly clothes are given to the poor.

CAPTAIN: What about this one?

MARIA: The poor didn’t want this one

CAPTAIN: Thisis what you would call a worldly dress?

MARIA: It belonged to our last postulant. I would have
made myself a dress but I wasn’t given time. I can make
my own clothes.

CAPTAIN: Good. Ill see that you’te given some material—
today if possible. Now, you will be in charge of my chil-
dren. There are seven of them. You will find out how far
they have progressed in their studies and carry on from
there, Each morning will be spent in the classtoom.
Each afternoon, they march, You will see that at all
limes they conduct themselves with decorum and order-
liness. The first rule in this house is discipline.

MARIA: Yes, sir.

(The CAPTAIN takes out his silver whistle and blows

@ siren-like summoning blast which continues while his

children enter from both sides of the balcony, the outside

door, the French windows and the library, and end by form
ing a single line with GRETL, and MARTA on the stairs,

KURT, LOUISA, FRIEDRICH and LIESL, in that order, on

the balcony behind them. They are dressed in white sailor

uniforms; the girls, of course, in white shirts. The CAP-

TAIN changes his signal to one that marks time for march

ing, and, led by GRETL, they march down the stairs and,

with a military left turn at the foot of the stairs, line up
across the stage. MARIA has watched this with consider-
able astonishment. There is an empty space between MAR-

TA and KURT. Slowly through the diningroom door, BRIG-

-23-

ITTA enters, reading a book. The CAPTAIN sees her,
takes the book away from her, puts it on the sofa and
gives her an admonishing pat on the behind, which sends
her running to take her place in formation. The CAPTAIN
crosses in front of them to the other side of LIESL and
addresses them.)

CAPTAIN: This is your new fraulein—Fraulein Matia. As
I sound your signal you will step forward and repeat
your name. You, Fraulein, will listen and lear their
signals so that you can call them when you want them

(He whistles their various signals. Each child responds
to hisor her sigaal, stepping forward in a military manner,
announcing his or ker name, then stepping back into line.

The CAPTAIN crosses below the children to MARIA, taking

from his pocket a velvet case which holds another boats-

wain’s whistle. He hands it to MARIA.) Now, Fraulein, let’s
see how well you listened. (MARIA, slightly bewildered,

takes the uhistle from its case. The CAPTAIN crosses D.R)

MARIA: I won't have to whistle for them, Reverend Captain
—What I mean is, I'll be with them all the time.

CAPTAIN; Not on all occasions. This is a large house and
a large estate. They have been taught to come only when
they hear their signal. Now when I want you, this is what
you'll hear. (The CAPTAIN whistles the governess’ sig-
nal.)

MARIA: You won't have to trouble, sir, because I couldn't
answer to a whistle.

CAPTAIN: That's nonsense, Everyone in this house an.
swers to a whistle. I'll show you. (He whistles the but-
ler’s signal.)

FRANZ; (Entering D.R. and coming to attention) Yes, sit?

CAPTAIN: This is my orderly—my butler. The new gover-
ness—Fraulein Maria. (He whistles the housekeeper's
signal.)

~24-

FRAU SCHMIDT: (Entering on the balcony) Yes, sit?

CAPTAIN: That is the executive officer, Frau Schmidt, the
housekeeper, Fraulein Maria. Please be sure that her room
is ready

FRAU SCHMIDT: Yes, sir.

(FRANZ takes MARIA'S bag and goes upstairs to land-
ing, joining FRAU SCHMIDT. }

CAPTAIN: Well, I shall now leave you with the children.
You are in command. (He starts out D.R. MARIA blows a
blast on the whistle, He stops and turns.)

MARIA: Pardon me, sir-I don’t know how to address you,

CAPTAIN: You will call me Captain

MARIA: (Crosses to CAPTAIN) Thank you, Captain. I for-
got to return this whistle, Captain. I won’t need it, Cap-
tain, (He takes the whistle and exits D.R. FRANZ and
FRAU SCHMIDT exit to third floor. She turns tw children
with a handelap, catching them off guard.) Well, now
that there’s just us, would you tell me your names again,
and tell me how old you are. Now you're—?

(Each child, in turn, steps forward in military manner,

s, and then steps back.)

«I’m Liesl, I’m sixteen years old and I don’t need a
governess,

MARIA: (R. of LIESL) I'm glad you told me. We'll just be
friends. (LIESL steps back. FRIEDRICH steps forward.)

FRIEDRICH: I’m Friedrich. I’m fourteen. I'ma boy.

MARIA: (R. of FRIEDRICH) Boy? Why, you're almost a man.

(FRIEDRICH looks pleased. LOUISA signals the other
girls, who giggle.)

LOUISA: I’m Brigitta:

MARIA: (Crosses behind LOUISA, pulling up her braid) You
didn’t tell me how old you are, Louisa

=25=

BRIGITTA: (Steps L. of MARIA) I’m Brigitta, She's Lou.
isa and she’s thirteen years old and you're smart. I’m
nine and I think your dress isthe ugliest one | ever saw.

KURT: (Steps R. of MARIA) Brigitta, you mustn't say a
thing like that

BRIGITTA: Why not? Don’t you think it’s ugly?

KURT: If I did think so, I wouldn't say so. (Snapping
to attention.) I'm Kurt, I’m eleven—almost

MARIA: That’s a nice age to be, eleven—almost

MARTA: (Steps forward L. of MARIA, pulling her skirt) T'm
Marta and I’m going to be seven on Tuesday and I'd like
a pink parasol

MARIA; Pink is my favorite color, too. (GRETL steps for-
ward and stamps her foot,)And you're Gretl, (CRETL
smiles and jumps into her arms. MARIA crosses L.C.)
I'm going to tell you something. (MARIA sits on chair R
of sofa, puts GRETL on floor R. of her.) I've never been
a governess before, How do I start?

LOUISA: (Runs to MARIA) You mean you don’t know any-
thing about being a governess?

MARIA: No.

LOUISA: Well, the first thing you have to do is to tell
Father to mind hisown business.

KURT: No, Louisa, don’t. | like her.

BRIGITTA: (Above chair, picking up guitar case) What's in
here?

MARIA: My guitar.

BRIGITTA: What did you bring this for?

MARIA: For when we all sing together.

MARTA: (BRIGITTA takes guitar out of case) We don’t sing,

MARIA: Of course you sing. Everybody sings. What songs
so you know?

KURT: We don't know any songs.

26 -

MARIA: (Taking guitar from BRIGITTA) You don't?
ALL: No.
MARIA: Well. . . Now I know where to start. I’m going to
teach you how to sing. (Sings.)
Let's start at the very beginning,
A very good place to start.
Wheri you read you begin with
GRETL: (Leaning over to MARIA)

A,B,C,
MARIA. When you sing you begin with do-re-mi.
CHILDREN: Do=re~mi?
MARIA: Do-re-mi,

‘The first three notes just happen to be

Do-re—mi,

CHILDREN: Do-re~mi
MARIA; (Stands)

Do-re—mi-fa~so—la-ti (Speaks)

Come, I’ll make it easier, Listen. (Puts on guitar, cros-

ses, sits on couch, sings.)

Doe-a deer, a female deer,

Ray~a drop of golden sun,

Me-a name I call myself,

Fara long, long way to run,

Sew-a needle pulling thread,

La~a note to follow sew,

Tea—a drink with jam and bread

That will bring us back to Doe—oh—oh—oh!
GRETL: Do~

MARIA: A deer, a female deer,
CHILDREN: Re~
MARIA: A drop of golden sun,

Mi—a name I call myself,
Fa-a long, long way to run,
So-

-27=

(MARIA rises, crosses C.S.)
ALL: A needle pulling thread,
La~a note to follow so,
Tia drink with jam and bread
MARIA: That will bring us back to—
CHILDREN: (Crossing in to MARIA)
Doe, a deer, a female deer,
Ray, a drop of golden sun,
Me, a name I call myself,
Far, a long, long way to run,
Sew, a needle pulling thread,
(Cross back to R. of sofa and slap their knees in

rhythm.)
La, a note to follow so,

Tea, a drink with jam and bread

MARIA: That will bring us back to doe.

Do re mi fa so la ti do

CHILDREN: So do!

BRIGITTA: (Speaks, crosses to MARIA) Is that what you
call a song? Do te mi fa so and so on?

MARIA: (Speaks) No. Do re mi fa so and so on are only the
tools we use to build a song. Once we have these notes
in aur heads we can sing a million different tunes,

FRIEDRICH: How?

MARIA: By mixing them up. Listen. (Sings. /

So do la fa mi do re. (Crosses S.R. Speaks.)
Now you do it.

CHILDREN: (Sing) So do la fa mi do re.

MARIA’ So do la ti do re do.

CHILDREN: So do la ti do re do.

MARIA: (Speaks) Now, let’s put it all together.

CHILDREN: (Sing)

So do la fa mi do re
So do la ti do re do.

-28-

BRIGETTA: (Speaks) But it doesn’t mean anything,
MARIA: (Speaks) So we put in words—one word for every
note. (Sings)
When you know the notes to sing
You can sing most anything.
BRIGITTA (Speaks) You saidone word for every note?
MARIA; Yes, Bngitta, | did.
BRIGITTA: (Speaks) But when you sing- (Sings.)
“anything”
(Speaks) you are using up three notes on one word.
MARIA: Yes, That's right Well, sometimes we do that.
Now, altogether. And— (Hands BRIGITTA guitar who
puts it behind sofa.)
ALL: (Sing) When you know the notes to sing
You can sing most anything.
GRETL: (MARIA Leads her S.R.)

Doe,
ALL A deer, a female deer,
MARIA: (Marches to join GRETL)
Ray,
ALL: A drop of golden sun
BRIGITTA: (Curtsies to MARIA and joins the first two)
Me,
ALL: A name I call myself,
KURT: (Shakes MARIA’s hand and crosses)
Far,
ALL: A long, long way to run.
LOUISA: (MARIA holds her pigtail as she crosses)
Sew,
ALL: A needle pulling thread,
FRIEDRICH: (Bows to MARIA and crosses)
La,
ALL A note to follow sew.

-29-

LIESL: (Joining the others)
Tea,

ALL: A drink with jam and bread
That will bring us back to doe,

(MARIA crosses in front of children and then goes bes
hind them. She taps them on head as if playing a xylophone
They sing: “Do” GRETL, “Re’’—MARTA, “Mi"—BRIGITTA,
“Fa” KURT, “So! -LOUISA, “La’’—F RIEDRICH, Ti? —
LIESEL.)

CHILDREN: (Carillon effect as MARIA gestures to them)
Do re mi fa so la ti do, do
Tila so fa mi re
Do mi mi mi so so
Re fa fa la titi
Do mi mi mi so so

Re fa fa la ti ti MARIA: (Sings)
Do mi mi mi so so When you
Re fa fa la ti ti know the
Do mi mi mi so so notes to
Re fa fa la ti ti sing
Do mi mi mi so so You can
Re fa fa la titi sing most
. anything.
MARIA: When you know the notes to sing

You can sing most anything.
ALL: (Led by MARIA, all march around the room and back
to sofa where MARIA sits and children group around her)

Doe, a deer, a female deer,

Ray, a drop of golden sun,

Me, a name I call myself,

Far, a long, long way to run

Sew, a needle pulling thread,

-~30-

CHILDREN: A needle pulling thread

MARIA: La, a note to follow sew
CHILDREN: A note to follow sew
MARIA: Tea, a drink with jam and bread

CHILDREN: Jam and bread
MARIA: (Rising)
‘That will bring us back to doe
ALL: (Children crowd around MARIA)
‘That will bring us back to
(MARIA goes down the scale until her final “Do” is
practically bass.)

MARIA; Do ti la so fa mi re do
ALL: (Singing with a happy laugh)
Do.
(Blackout)
ACT I
Scene 6

Outside the villa A shallow scene showing the villa
and wall that runs around it. D.L.C. is a stone bench.
After a moment LIESL enters D.R., turns and waves to
someone offstage.

LIESL: Good night, Rolf,

ROLF: (Walking on with his bicycle) Liesl!

LIESL: (Going to him) Yes?.

ROLF: You don’t have to say good night this early just
because your father’s home—

LIESL: How did you know my father was home?

ROLF: Oh, I have a way of knowing things.

LIESL: You’re wonderful,

ROLF: (Resting the bicycle on its stand) Oh, no, I'm not
—teally

=31=

LIESL: (Crosses D.L.) Oh, yes, you ate. I mean—how did
you know two days ago that you would be here at just
this time tonight with a telegram for Franz?

ROLF: (Following her) Every year on this date he always
gets a birthday telegram from his sister.

LIESL: You see—you are wonderful,

ROLF: Can I come again tomorrow night?

LIESL: (Sitting on the bench) Rolf, you can’t be sure you're
going to have a telegram to deliver here tomorrow night.

ROLF: (Sitting beside her) 1 could come here by mistake—
with a telegram for Colonel Schneider. He’s here from
Berlin. He’s staying with the Gauleiter but I-/Suddenly
concerned.) No one’s supposed to know he’s here. Don’t
you tell your father

LIESL: Why not?

ROLF: Well, your father’s pretty Austrian.

LIESL: We're all Austrian,

ROLF: Some people think we ought to be German. They’re
pretty mad at those who don’t think so. They're getting
ready to—well, let’s hope your father doesn’t get into
any trouble, (He goes to his bicycle.)

LIESL: (Rising) Don’t worry about father, He was decorated
for bravery.

ROLF: I know. I don’t worry about him. The only one I worry
about is his daughter.

LIESL: (Above bench) Me? Why?

(ROLF gestures to her to stand on the bench, She does
and he studies her.)

ROLF: How old are you, Liesl?

LIESL: Sixteen—What's wrong with that?

ROLF: (Singing)

You wait, little girl, on an empty stage
For fate to turn the light on,

—32-

LIESL:
ROLF:

Your life, little girl, is an empty page
That men will want to write on.

To write on.

You are sixteen going on seventeen,
Baby, it’s time to think

Better beware,

Be canny and careful

Baby, you're on the brink.

You are sixteen going on seventeen,
Fellows will fall in line.

Eager young lads

And roués and cads

Will offer you food and wine.

Totally unprepared are you
To face a world of men.

Timid and shy and scared are you
Of things beyond your ken.

You need someone older and wiser
Telling you what to do.

(LIESL sits on the bench.)

1am seventeen going on eighteen,

(ROLF sits and puts his arm around her shoulder.)

(LIESL dances. At the end of the dance ROLF gets on
his bicycle as if to leave; Ll

Tl take care of you

L hurries to him.)

LIESL: (Singing)

Iam sixteen going on seventeen,
I know that I’m naive,
Fellows I meet

May tell me I’m sweet

And willingly I'll believe.

-33-

1 am sixteen going on seventeen,
Innocent as a rose.

(ROLF moves bicycle D.S. Ske follows.)
Bachelor dandies,
Drinkers of Brandies,
What do I know of those?

(ROLF moves bicycle slowly S.R. LIES

Totally unprepared am I
To face a world of men.
Timid and shy and scared am I
Of things beyond my ken.
I need someone older and wiser.
(She grabs ROLF by back of jacket.)
Telling me what to do,
(ROLF puts bicycle $.L. and crosses back to LIESL.)
You are seventeen going on eighteen,
T’ll depend on you. (Dance)

(She assumes doll-like position. He carrects her by
moving her arms. He snaps his fingers and she does a
Spanish step. She starts to waltz and gets confused be-
cause she does not know what to do with her arms. He then
directs her, and she does a dance at the end of which she
puts her arms around him. They kiss tentatively, then she
puts his arm around her waist and they kiss more fervently.
ROLF breaks away in confusion, jumps on his bicycle and
races off D.R. LIESL, feeling she has made progress, jumps
with joy and shouts “Yow!” She runs off D.L.)

(Blackout)

follows.)

~34—

ACTI
Scene 7

Maria’s Bedroom. The gabled ceiling suggests it is on
the top floor of the villa.. The door from the hallway is in the
upstage wall. At the left of this door is a wardrobe with
double doors. The left wall slants away from this and in it
is a window. To the right of the door to the hall is an al-
cove, curtained off with drapes of yellow and brown creton-
ne, matching the drapes of the window. Below the alcove,
in a jog, is MARIA’s double brass bed with a thick cider.
down comforter. Guitar case on floor D.S. of window. There
is a knocking on the door.

FRAU SCHMIDT: (Off) Fraulein Maria! (She enters U.C.
carrying a bolt of cloth.) Fraulein Matia, it’s Frau
Schmidt.

MARIA: (Off) I’m getting ready for bed.

FRAU SCHMIDT: The Captain is going to Vienna tomorrow.
Thave this material he ordered for a new dress for you.

MARIA: (Off) Oh, how nice of him. (She enters from the al-
cove, wearing @ nightgown under a dressing robe. FRAU

HMIDT hands her the bolt of material.) Even betore

it's made, this is the prettiest dress I’ve ever had. I
hope the Captain will like it because I want to ask him
for more material

FRAU SCHMIDT; More?

MARIA: Oh, not for me—for the children, For play clothes.

(She takes the material into the alcove.)

FRAU SCHMIDT: The Von Trapp children never play.
(Crosses to the window and closes the curtains.) The
Captain doesn’t like them to get dirty.

MARIA: (Re-entering) But they’re children. They have to
climb trees, roll on the grass. Think of all the rocks and

caves—

=35-

FRAU SCHMIDT; The Captain says the best exercise is
marching, The children will continue to march, I hope
you find your room comfortable.

MARIA: Yes, thank you,

FRAU SCHMIDT: (Going to the bed and adjusting the eider-

down comforter) There will be new curtains for the
window and the alcove. They will be hung tomorrow.

MARIA: (At the window) But these curtains are very good.

FRAU SCHMIDT: There will be new curtains.

MARIA: (Measuring the drapes at arm’s length from her nose,
Will the Captain be away long?

FRAU SCHMIDT: I don’t know, Of course he has to come
home every time he hires a new governess. I sometimes
think the children get rid of their governesses just be-
cause they want to see their father

MARIA: (Picking up her guitar case) He must want to see
them, too.

FRAU SCHMIDT: Since his wife died, they remind him too
much of her. (Seeing the guitar.) You can put that away.
You won’t be using it.

MARIA: Why not?

FRAU SCHMIDT: The Captain won't have music here.

MARIA: He won’t have music???

FRAU SCHMIDT: And he used to love music. There were
wonderful evenings here. His wife would sing andhe
would play the violin or guitar. But now he’s shut all
that out of his life

MARIA: So that’s why he's the way he is. But not to have
music—that’s wrong for him and wrong for the children,
too. (She puts the guitar in the alcove.)

FRAU SCHMIDT: It will work out. The Captain may marry
again before the summer is over.

a862

MARIA: (Re-entering) That would change everything, They'd
have @ mother again.

FRAU SCHMIDT: (Dismissingly) It's going to rain. You'd
better close your window. (She exits U.S. MARIA goes
to the bed and kneels in prayer.)

MARIA: Dear God, I know now that You have sent me here
on a mission. I must help these children to love their
new mother and prepare them to win her love so she will
never want them to leave her. And I pray that this will
become a happy family in Thy sight. God bless the Cap-
tain, God bless Liesl, and Friedrich, Louisa, Brigitta,
Marta, and little Gretl—and oh, yes, I forgot the other
boy-what’s his name? Well, God bless what’s-his-name!
(There is lightning and thunder. LIESL enters through
the window. Her dress is smudged with dirt. She tiptoes
to the hall door. MARIA sees her out of the comer of her
eye, but continues.) God bless the Reverend Mother, and
Sister Margaretta and everybody at Nonnberg Abbey. And
now, dear God, about Liesl— (L/ESL stops and gives
MARIA a startled look.) Help her to know that I am her
friend and help her to tell me what she’s up to.

LIESL: Are you going to tell on me?

MARIA: (Silencing her with a gesture) Help me to be under-
standing so that I may guide her footsteps. In the name
of the Father, and of the Son, and of the Holy Ghost
Amen, (MARIA rises.)

LIESL:; (Crosses C.)1 was out taking a walk and somebody
locked the doors earlier than usual—and I didn’t want to
wake everybody up-so when I saw your window open—
You're not going to tell Father, are you?

MARIA: (Looking out the window) Did you climb that trellis
to get up here?

-37-

LIESL: That’s how we always got into this room to play
tricks on the governess. (Proudly.) Louisa can climb it
with a toad in her hand.

MARIA: Liesl, were you out walking all by yourself?
(LIESL shakes her head negatively.) You know, if we
wash that dress out tonight, nobody would notice it to-
morrow. Then all this would be just between you and me.
You could put this on— (She takes off her robe and puts
it around LIFSL'S shoulders.) Take your dress in there—
and put it to soak in the bathtub. (I'hunder and light-
ning. They embrace each other in fright.) Then come
back here and sit on the edge of my bed and we'll have
a talk.

LIESL: I told you today I didn’t need a governess, Well,
maybe I do. (She exits into the alcove. Lightning and
thunder. MARIA jumps, then crosses to the bed and peers
under the comforter looking for possible toads. GRETL
enters U.C. in her night dress.)

MARIA: Oh, it’s you, Gretl. Are you aftaid? (GRET'L shakes
her head. Thunder and lightning. GRETL jumps up on the
bed with MARIA.) You're not afraid of a thunderstorm, are
you? You just stay right here with me, Where are the othe

GRETL: They're asleep. They're not scared

(Thunder and lightning. BRIGITTA, LOUISA and MART.
run on U.C. in their nightdresses. )

MARTA: Wait for me.

MARIA: (To GRETL) Oh, no? Look. (To the others.)

Come, all of you. Up on the bed. (All three girls jump
up on the bed.) Now all we have to do is wait for the
boys.

LOUISA: We won't see them! Boys are brave.

(Thunder and lightning. KURT and FRIEDRICH enter

U.C. in their pajamas.)

MARIA: You boys aren’t frightened, too, are you?

KURT: Oh, no, We just wanted to be sure you weren't

MARIA: Was this your idea, Friedrich?

FRIEDRICH: Oh, no. It was Kurt's.
MARIA: That’s it, Kurt. That’s the one I left out.
(Looking up.) God bless Kurt.
(Lightning and thunder. The boys run and cower at the
foot of the bed.)

MARTA: Why does it do that?

MARIA: Well, the lightning says something to the thunder
and the thunder answers it back.

MARTA: I wish it wouldn’t answer so loud.

MARIA: Maybe if we all sing loud enough we won’t hear
the thunder. (The children climb off the bed and sit in
semicircle at its foot. MARIA sits on D.S. edge of bed.
The children are in the following order from S.R.: KURT,
MARTA, GRETL, BRIGITTA, LOUISA, FRIEDRICH.
MARIA sings.)

High on a hill was a lonely goatherd,
Layee odl, layee odl layee oo

Loud was the voice of the lonely goatherd,
Layee odl, layee odl 00

Folks in a town that was quite remote, heard
Layee odl, layee odl layee oo

Lusty and clear from the goatherd’s throat,

heard

Layee odl, layee odl 00
© ho lay-dee odl lee 0
© ho lay-dee odl ay!
© ho lay-dee odl lee 0
Lay-dee odl lee-o-lay!

A prince on the bridge of a castle moat, heard
Layee odl, layee odl layee oo

Men on a road with a load to tote, heard
Layee odl layee odl 00

Men in the midst of a table d’héte, heard
Layee odl layee od! layee oo

—39-

Men drinking beer with the foam afloat, heard
Layee odl layee odl oo.
O ho lay-dee od! lee 0
ho lay-dee odl ay
O ho lay-dee odl lee 0
Lay-dee odl lee 0 lay.
(Lightning and thunder. GRETL jumps on bed. Others
cower.) One little girl in a pale pink coat, heard
Layee odl, layee odl layee 00.
She yodeled back to the lonely goatherd,
Layee od] layee od] 00
Soon her Mama with a gleaming gloat, heard
Layee odl layee odl layee 00
What a duet for a girl and goatherd!
Layee odl layee odl 00.
(Other girls jump on bed.)
ho lay-dee od! lee 0
ho lay-dee odl ay!
O ho lay-dee odl lee 0
Lay-dee odl lee-o-lay!
Happy are they-lay-dee o lay dee lee 0
(All sway in rhythm.)
Olay-dee o laydee laydee 0,
Soon the duet become a trio!
Layee od, layee odl ay.
Hodl layee
LIESL: (Sticking her head out of the aleove)

Ho-dl lay-ee
MARIA: Ho-dl layee
LIESL: Ho-dl lay-ee
MARIA: Ho-dl layee
LIESL: Ho-dl lay-ee
MARIA: Ho-dl lay-ee

(PREDRICH hides in the wardrobe. GRETL pulls
LIESL into the room.)

~40-

CHILDREN: 0 ho lay-dee odl lee 0
O ho lay-dee od! ay!
© ho lay-dee od! lee 0
Lay-dee od lee-o-lay!
MARIA: One little girl in a pale pink coat, heard
FREDRICK: (Sticking his head out of the wardrobe}
Layee odl, layee od layee 00
MARIA: She yodled back to the lonely goatherd
GRETL: (Pulling FREDRICH from the wardrobe)
Layee odl layee odl oo
MARIA: (Marching D.L.C. Children get in place)
What a duet for a girl and goatherd!
CHILDREN: (On knees-shift formation facing front)
Layee odl, layce odl 00.
ALL: (Children mime playing band instruments)
© ho, lay-dee od lee o
O ho, lay-dee odl ay!
O ho, lay-dee odl lee 0
Laydee odl lee-o-ay
MARIA: Happy are they lay-dee o lay-dee lee o!
O lay dee o lay dee lay dee 0
Soon the duet will become a trio!
Layee odl, layee odl lay
(Cupped hand call off R.)
Ho dl lay ee
CHILDREN: (S.R.)
Ho dl lay ee
MARIA: (Cupped hand call off L.)
Ho odl lay ee
CHILDREN: (S.L)
Ho odl lay ee
MARIA: (To R) Ho odl lay hee hee

es

CHILDREN: (R.S.)
Ho dl lay hee hee
MARIA: (To L. Arms up)

Ho dl layee

MARIA: Hod layee

CHILDREN: (BRIGITTA, LOUISA, MARTA jump on bed)
Hodl layee

MARIA: Hodl layee

CHILDREN: (GRET, FREDRICH jump on bed)
Hodl layee

MARIA: Hodl layee

CHILDREN: Hod) layee

MARIA: (Jumping on bed)
Ho dlayee odi, layee odl ay.
(All fall except MARIA.)

(Thunder and Balckout)

ACTI
Scene 8

A hallway in the Trapp villa. GRETL enters D.R. carry:
ing a lighted candle, followed by MARTA, BRIGITTA and
LOUISA. LOUISA has hold of GRETL's nightdress; BRIG-
IITA holds LOUISA’s, and MARTA, BRIGITTA's. There is
arumble of thunder. They hesitate, then go on, and GRETL
starts to sing bravely, but tremulously.

GRETL: © ho lay dee od! lee 0
O ho lay dee od! ay
O ho lay dee odi lee 0.

(Thunder crash. MARTA, LOUISA and BRIGITTA turn
around and run off R. GRETL, who is not aware of this,
continues, then senses something is wrong. She reaches be-

~42-

hind her for the others, turns and sees she is alone. There
is a clap of thunder. She runs off D.L. Blackout)

ACT I
Scene 9

The terrace of the Trapp villa. The villa is S.R. Since
the terrace is off the living room, people entering from the
house come through the French windows which we have seen
in the living room. Over these windows is a striped awning.
Convenient to these windows are a terrace table and two
chairs. On the table is a tray with coffee service. From the
upstage end of the house a short balustrade-starts toward
S.L., a potted plant on its terminal post. There is an exit
toward the gardens on SL. between this balustrade and a
boxuood hedge on the left side of the terrace. In front of
this hedge is a garden bench and a stool. The view the
audience sees beyond the villa is of the Alps. At Rise:
FRANZ is standing behind the table, pouring coffee. ELSA
SCHRAEDER, a handsome woman in her late thirties, cos-
mopolitan, alert and attractive, is seated left of the table
admiring the view of other mountains somewhere beyond the
audience. CAPTAIN VON TRAPP is standing center, ad-
miring ELSA.

CAPTAIN: Franz, did you tell Herr Detweiler we're hav-
ing coffee out here?

FRANZ: Yes, sit. Herr Detweiler is still on the telephone.

(URSULA enters from the house with a tray of pastry.)

URSULA: (Offering tray) Frau Schraeder?

ELSA: Oh, thank you. (ELSA takes a small plate of lady-
fingers and puts it on the table. URSULA exits into the
house.)

CAPTAIN: No sign of the children, Franz?

FRANZ: Not yet, sir. (FRANZ exits into house.)

-43-

ELSA: (Rising, taking his arm, crosses D.C.) Georg, those
mountains—they’re magnificent!

CAPTAIN: Yes, they're not like any other mountains—they’re
friendly. Look, that green stretch of woods over there—
when the wind moves through it, it’s like a restless sea.

ELSA: And that sweet little village.

CAPTAIN: That’s not a village. That’s a town.

ELSA: Oh, I’m sorry—I didn’t mean to hutt its feelings.

CAPTAIN: (Crosses in to her) It’s fun being with you
You're quite an experience for me.

ELSA: You're quite an experience for me, too. Somewhere
in you there’s a fascinating man. Occasionally I catch
a glimpse of him, and when I do, he’s exciting. (She sits
L. of table.)

CAPTAIN: (Crosses up to L. of her) Exciting? I’ve never
been called exciting before.

ELSA: I'm beginning to understand you better now that I see
you here~ You know, you're a little like those mountains—
(He crosses D.L.C.) except that you keep moving. How
can you be away from this place as much as you are?

CAPTAIN: Maybe I’ve been searching for a reason to come
back here to stay.

ELSA: Georg, | like it here very much.

CAPTAIN: (Embarassed) Max can’t still be on the telephone,
(Crosses above coffee table-R. of ELSA.) 1 know he’s
desperate about getting singers for the Kaltzberg Festi-
val but— (1'0 ELSA.) You like it here?

ELSA: Oh, we'd have to spend some time in Vienna, I have
Heinrich’s estate to look after.

CAPTAIN: I thought that was a corporation now.

ELSA: It is, and I’m president

CAPTAIN: You president of a corporation!

ELSA: After all, I managed Heinrich’s affairs for years be-
fore he died.

ere

CAPTAIN: I can’t see you sitting behind a desk. (He sits
R. of coffee table.)

ELSA: Well, of course, I wear a business suit and smoke a
big cigar. (FRANZ enters from the house.)

FRANZ: Excuse me, Captain, Herr Detweiler would like his
coffee.

CAPTAIN: While he’s telephoning?

FRANZ: He just finished.

(FRANZ pours a cup of coffee. MAX DETWEILER
enters, He is charming and vital. He carries a small note-
book and pencil.)

MAX: I'm sorry I took so long.

CAPTAIN: Any luck?

MAX: How would you like this for the Kaltzberg Festival—
the finest choral group in Austria, the greatest mixed
quartet in all Europe—and the best soprano in the world?

ELSA: Max, that’s something I’d love to hear!

MAX: So would I. (MAX sits on stool D.l..) All I've got up
to now is a basso who isn’t even profundo.

(FRANZ exits into the house.)

ELSA: Max, you always come up with a good Festival Con-
cert.

(The CAPTAIN takes MAX a cup of coffee with a piece
of pastry on the saucer.)

MAX: And why? Because my motto is: “Never start out look-
ing for the people you wind up getting.” That's why I've
been telephoning Paris, Rome, Stockholm, London—

ELSA: On Georg’s telephone?

MAX: How else could I afford it? Why am I up here?

CAPTAIN: I hoped it was because you liked me.

MAX: Of course I like you. Why shouldn’t I like you? You
live like a king. You have an excellent wine cellar—

ELSA: Max!

C46

MAX: I like rich people, I like the way they live. I like the
way / live when I’m with them. (We hear the Abbey bells. )
Speaking as a government official, [-Georg, is there a
cathedral around here?

CAPTAIN: That’s our Abbey—Nonnberg Abbey.

MAX: Do they have a choir?

CAPTAIN: A beautiful one.

MAX: Good! In the next few days I have to visit all these
towns around here and listen to saengerbunds, choirs,
quartets—

CAPTAIN; You'll be here for meals, won't you?

MAX: Oh, yes! (MAX rises and looks off over the heads of
the audience, where MAX plainly sees a mountain vil-
lage.) It was in a town just about that size—Watzmann
—where I discovered the St. Ignatius Boys Choir. In 1930
they won the Festival, became very famous, toured all
over the world

ELSA: Oh, yes-whatever became of them?

MAX: By the time their voices changed they were rich
enough to live in America. (Indicating. ) Who lives in
that dilapidated castle down there? Rumpelstiltskin?

CAPTAIN: Baron Elberfeld. The oldest family in the valley.

ELSA: I'd like to meet him. I’d like to meet all your friends.
Georg, why don’t you give a dinner for me while I’m here?
Nothing very much—just something lavish.

CAPTAIN: I wouldn’t know whom to invite. Today it’s dif-
ficult to tell who’s a friend and who’s an enemy.

ELSA: This isn’t a good time to make enemies. Let’s make
some friends.

(Wishing to change the subject, the CAPTAIN goes up-
stage and looks off.)

CAPTAIN: I can’t understand what’s happened to the chil-
dren.

ELSA: You're not wortied about them, are you?

-~46-

CAPTAIN: They should have been here to welcome you

ELSA: It couldn't have been an intentional slight because
they haven’t met me yet.

CAPTAIN: Forgive me, I'll try to find them, (He exits U,L.)

MAX: Elsa, have you made up Georg’s mind yet? Is he go-
ing to marry you?

ELSA: Oh, yes! He hasn’t admitted it yet. There seems to
be something standing in his way.

MAX: (Crosses C.) You don’t know what it is?

ELSA: No.

MAX: I do.

ELSA: (Rises) What?

MAX: It’s very simple. It’s money. (Takes her arm, crosses
D.C.)

ELSA: Money?

MAX: Yes. He’s rich and you’re rich. (He sings, D.C. ELSA
crosses D.R.)

In all the famous love affairs

‘The lovers have to struggle.

In garret rooms away upstairs

‘The lovers starve and snuggle.
They’re famous for misfortune which
‘They seem to have no fear of,

While lovers who are very rich

You very seldom hear of.

CAPTAIN: (Enters U.L. and crosses D.R.C. Speaking)
Not a sign of them anywhere. . . (MAX pushes ELSA
towards CAPTAIN.)

ELSA: (Clutching CAPTAIN)

No little shack do you share with me,
We do not flee from a mortgagee,
Nary a care in the world have we—
(She crosses to MAX.)
MAX: How can love survive?

=47=

ELSA: (Crosses back to CAPTAIN)
You're fond of bonds and you own a lot,
Ihave a plane and a diesel yacht,
MAX: (Between ELSA and CAPTAIN)
Plenty of nothing you haven't got!
MAX and ELSA:
How can love survive?
ELSA: (S.R.) No rides for us
On the top of a bus
In the face of the freezing breezes—
MAX: You reach your goals
(To the CAPTAIN.)
In your comfy old Rolls!
(To ELSA.)
Or in one of your Mercedeses! (Signal.)
ELSA: (Moving back)
Far, very far off the beam are we,
Quaint and bizarre as a team are we,
Two millionaires with a dream are we,
We're keeping romance alive,
Two millionaires with a dream are we—
We'll make our love survive.

No little cold water flat have we,
(Mouing to C.)
Warmed by the glow of insolvency—
MAX: (Stopping CAPTAIN)
Up to your necks in security,
How can love survive?
ELSA How can I show what I feel for you?
I cannot go out and steal for you
(Takes MAX’s kerchief.)
I cannot die like Camille for you—
How can love survive?
(Crosses and returns kerchief.)

-48—

MAX: (Calling them to him)
You millionaires
With financial affairs
Are too busy for simple pleasure.
When you are poor
It is toujours !’amour—

(Bending ELSA back.)

For l’amour all the poor have leisure!

ELSA: (To the CAPTAIN)

Caught in our gold-plated chains are we,
Lost in our wealthy domains are we,

es C.)

Trapped by our capital gains are we—

(Holds CAPTAIN.)

But we'll keep romance alive—

(MAX turns out his empty trouser pockets.)

MAX. Trapped by our capital gains are we

ELSA: We'll make our love survive!

(At the end of the number, ROLF enters U.L., looking
for LIESL. He is concentrating on the upstairs windows of
the villa so completely, he doesn’t see the others.)
CAPTAIN: (to ROLF) What do you want?

ROLF: (Startled) Oh, Captain. . . | don’t see, | mean, |
didn’t know. . . er, uh, . . Heil! (He holds his hand up
in salute.)

CAPTAIN: (Icily) Who are you?

ROLF: I have a telegram for Herr Detweiler.

MAX: (Taking the telegram from ROLF) 1 am Herr Detweiler

CAPTAIN: You've delivered your telegram, now get out!

(ROLF exits U.L., flustered.)

ELSA: Georg, he’s just a boy!

CAPTAIN: I am an Austrian—I will not be heiled!

MAX: Georg, why don’t you look at things the way | do?
Whats going to happen is going to happen. Just be sure
it doesn’t happen to you.

(Cr

aa

(ELSA exits into the house.)

CAPTAIN: Max, it’s a good thing you haven't any character,
because if you had I’m convinced I’d hate you.

MAX: You couldn't hate me. I’m too lovable.

(FRANZ enters from the house.)

FRANZ: Herr Detweiler, there’s a call for you, It’s from—

MAX: (Quickly) I'll take it

(MAX exits into the house, followed by FRANZ. At
this moment the CAPTAIN’s attention is attracted by the
sound of voices yodeling and coming from the direction of
the garden. U.L., GRETL runs on and stoops over.
we see MARTA leapfrog over G:
followed by BRIGITTA, KUR
LIESL, all leapfrogging. They are dressed in playclothes
made from the curtains we have seen in MARIA’s bedroom.
The last one on, yodeling along with the children, dressed
ina dirndl made from the material the CAPTAIN sent her,
is MARIA. Her leapfrogging takes her to the feet of the
CAPTAIN. She straightens up in pleased surprise.)

MARIA: Oh, Captain—you're home!

CHILDREN: (Joy/ully) Father! Father, you’re home!

(The CAPTAIN takes his whistle from his pocket and
blows a premptory blast. The children, dismayed, line up
in military fashion.)

CAPTAIN: Straight line! (The CAPTAIN crosses behind
them, inspecting their strange garb with evident dis-
pleasure. He takes a kerchief made of the curtain ma-
terial from LOUISA’s head.) Get cleaned up! Get into
your uniforms and report back here! (The children glance
appealingly toward MARIA.) At once! (The children run
into the house.) Fraulein! Where did they get these ab-
ominations—out of a nightmare?

MARIA: No, out of some curtains—the curtains that used to
hang in my bedroom. There was plenty of wear left in
them.

—50-

CAPTAIN: Just a moment. Do you mean to say the people
of the neighborhood have seen my children wearing old
curtains?

MARIA: Oh, yes, they’ve become very popular. Everyone
smiles at them.

CAPTAIN: I don’t wonder.

MARIA: They say, “There go Captain von Trapp’s children?

CAPTAIN: My children have always been a credit to my

name

MARIA: But, Captain, they weren’t. They were just unhappy

little marching machines.

CAPTAIN: I don’t care to hear from you about my children

MARIA: Well, you must hear from someone, You're not home

long enough to know them

CAPTAIN: I said I don’t want to hear—

MARIA: I know you don’t~but you’ve got to, Take Lies!—
Liesl isn’t a child any more. And if you keep treating
her as one, Captain, you're going to have a mutiny on
your hands. And Friedrich—Friedrich’s afraid to be him-
self—he’s shy—he’s aloof, Friedrich needs you-he needs
your confidence—

CAPTAIN: Don’t tell me about my son.

MARIA: Brigitta could tell you about him, She could tell you
a lot more if you got to know her, because she notices
things. And she always tells the truth-especially when
you don’t want to hear it. Kurtis sensitive—he’s easily
hurt-and you ignore him—you brush him aside the way you
do all of them. (The CAPTAIN starts to leave./I haven't
finished yet! Louisa—wants to have a good time. You've
just got to let her have a good time, Marta—I don’t know
about yet—but someone has to find out about her. And
little Gretl—just wants to be loved—Oh, please, Captain,
love Gretl, love all of them. They need you.

CAPTAIN: Stop! Stop it! You will pack your things and re-
turn to the Abbey as soon as you can.

aie

MARIA: I’m sorry. I shouldn’t have said those things—not
in the way I said them.

CAPTAIN: After you've CHILDREN: (Singing offstage)
gone there’ll be~ (We The hills are alive
hear the vices of the With the sound of music
children singing offstage.) With songs they have sung
What's that? For a thousand years.
MARIA: Singing.
CAPTAIN: Who’s singing? The hills fill my heart
MARIA; Your children. With the sound of music
CAPTAIN: My children My heart wants to sing
singing? Every song it hears.

MARIA: I wanted them to
sing for Frau Schraeder
when they met her.

(ELSA enters from the upper French windows, going
toward the CAPTAIN, who is D.L. She stops L. of C. The
children follow ELSA on, still singing, FRIEDRICH ac-
companying them on a guitar. They stand in a diagonal line
in front of the French windows.)

ELSA: Georg, you must hear—
CHILDREN: (Singing)
My heart wants to beat
Like the wings
Of the birds that rise
From the lake to the trees,
My heart wants to sigh
Like a chime that flies
From a church on a breeze.

(The CAPTAIN turns front and joins in the song.)

CAPTAIN AND CHILDREN; (singing)
1 go to the hills
When my heart islonely
I know I will hear

=85_

What I’ve heard before
My heart will be blessed
With the sound of music
And [’ll sing once more.

(As the song finishes there is a moment of poignant si-
lence. GRETL, who is carrying a white flower, looks toward
MARIA. MARIA nods to her. GRETL goes to ELSA, touches
her skirt, curtsies, and hands her the flower.)

ELSA: (Toucked) Edelweiss! Georg, why haven’t you told
me how enchanting your children are?

(The CAPTAIN goes 0 GRETL C. andputs hi
around her. He motions the other children to him.
younger ones surround him. He puts his other arm around
MARTA, then reaches out and gently ruffles KURT’ hair.
When he speaks it is not easy for him to control his voice.)
CAPTAIN: Children, I'd like to have you show Frau

Schraeder the gardens.

ELSA: Yes, show me the gardens~ (ELSA and the children
start of L., all talking simultaneously.) 1 want to see
everything, and with you, too. I don’t know any of your
names yet, but it doesn’t matter. I’m sure I won’t get them
straight for a long time.

LOUISA: My name is Marta

MARTA: It is not. My name's Marta. She’s Louisa.

(ELSA and the children have disappeared.)

CAPTAIN: (Going to MARIA) You were right. I don’t know
my own children,

MARIA: They're waiting to know you. They want so much to
After I’ve gone,

CAPTAIN: No. I want you to stay.

MARIA: If I can be of any help.

CAPTAIN: You have helped already. You have brought
music back into my home. I had forgotten. . . (Singing)

arm

-53-

To laugh like a brook
When it trips and falls
Over stones in its way
BOTH: To sing through the night
Like a lark who is learning to pray—

I go to the hills
When my heart is lonely.
(He hands MARIA LOUISA’s kerchief.)
I know I will hear
What I’ve heard before.
(The CAPTAIN takes the whistle from his pocket,
shows it to MARIA, then throws it away off U.L.)
My heart will be blessed
With the sound of music
CAPTAIN: And I’ll sing once more.
(The CAPTAIN exits into the house. MARIA watches
him go, smiles happily, then starts singing.)
MARIA; (Singing)
Ray—a drop of golden sun
Me—a name I call myself
Far-a long, long way to run
(She tosses kerchief into air, catches it, starts to
exit UL, Her eye notices pastry on coffee table. She goes
back for one, starts to bite as ELSA enters from the garden
U.L. MARIA sees her and stops singing.)
ELSA: (L.C.) | came back to congratulate you.
MARIA: (C) Thank you
ELSA: The Captain was really moved
MARIA: Yes, I think he was pleased. He’s asked me to
stay on with the children
ELSA: Oh, you’re staying on!
MARIA: Until September.
ELSA: September?
MARIA: Then I go back to the Abbey.

Si

ELSA: The Abbey?

MARIA: I’m going to be a nun.

ELSA: Oh, how nice! (She crosses to the table and sits.)
When you get back to the Abbey, think of us.

MARIA: I'll pray for you. (MARIA exits to the garden.)

(ELSA smiles to herself at the expression of thoughtful-
ness, then her expression changes as she realizes she may
have been insulted. Dim Out)

ACTI
Seene 10

At the end of “Love
SCHMIDT enter D.L.

A hallway in the Trapp vill.
Survive’ repeat, GRETL and FRAL
GRETL bows tw FRAU SCHMIDT.
FRAU SCHMIDT: No. (GRETL curtsies.) That’s right. You

must do that to all the guests. (Calling off.) Come

along, children—the party’s started.

(MARTA enters, going to FRAU SCHMIDT.)

MARTA: Frau Schmidt, will you fix my bow? (FRAU
SCHMIDT re-ties MARTA’s sash.) We never had a party
in our house before.

(BRIGITTA enters, runs across the stage, and looks
off. LOUISA enters. LIESL and FRIEDRICH enter. LIESL
fixes FRIEDRICH’S tie.)

FRAU SCHMIDT: Oh, yes, there used to be lots of parties

here.

LIESL: Friedrich and I used to sneak out and watch them

from the top of the stairs

FRIEDRICH: I remember the music.

FRAU SCHMIDT: Once your father brought a Gypsy orchestra

all the way from Budapest.

LIESL: Yes, they wore red coats.

55 -

FRAU SCHMIDT: Go ahead, children, and mind your man-
ners, Come along. (She exits D.R. with GRETL and
MARTA.)

FRIEDRICH: I remember beautiful ladies and everybody
laughing.

LOUISA: (Wist/ully) There was one lady—the most beauti
ful of all—I think she was here all the time.

LIESL: (Crossing to LOUISA, putting her hands on LOUISA’s
shoulders) Yes, Louisa.

BRITITTA: Can we dance while the guests are dancing?

LIESL: Yes, of course. Remember what Fraulein Maria
told us.

CHILDREN: Yes.

(KURT and BRIGITTA waltz together. So do LOUISA
and FRIEDRICH. LIESL imagines a young man asking her
to dance; she pretends surprise, then curtsies and extends
her arms. Slowly she begins to waltz and is dancing gaily
when the travellers part.)

ACT!
Scene 11

The living room of the Trapp villa. The room is filled
with waltzing couples, whom the children join briefly, then
exit, except for BRIGITTA. BARONESS ELBERFELD is
seated on the sofa, which has been pushed back. There are
two men not dancing, BARON ELBERFELD and HERR
ZELLER. They are obviously in a spirited argument. One
couple stops dancing and goes to them as if to intervene.
As the dance music ends we hear the angry voices of the
two men.

ZELLER: You have German blood, haven’t you?
ELBERFELD: I am not a Geman. I’m an Austrian,

Jeu

ZELLER: There’s going to be Anschluss, warn you and
everyone like you-and that goes for our—

FRAU ZELLER: Shhbh.

CAPTAIN: (Entering through the French windows and
sensing @ situation) It’s much more pleasant on the ter-
race. (The guests, uneasy, start out onto the terrace.)
Elberfeld, it’s very nice to have you and the Baroness
here again.

BARONESS ELBERFELD: Frau Schraeder’s charming,
Georg.

ELBERFELD: | hope she isn’t ill.

(FRANZ enters with a glass of brandy on a tray. He
goes to the CAPTAIN.)

CAPTAIN: Oh, no—just a headache. (He takes the brandy
from FRANZ.) I'm on my way up to get her. We'll find
you on the terrace.

(The ELBERFELDS exit. The CAPTAIN starts up-
stairs.)

BRIGITTA: (4¢ foot of steps) Father, I don't think these
people are having a very good time.

CAPTAIN: Half the people I invited aren’t speaking to the
other half.

BRIGITTA: Well, Father, maybe they’re having a good time
not speaking to each other.

(The CAPTAIN smiles and continues up stairs.)
FRAU SCHMIDT: (Entering on balcony) Oh, sir, Frau

Schraeder asked me to let you know that she will join
you in a few minutes.

CAPTAIN: Thank you. You might see whether she would
like this glass of brandy.

(FRAU SCHMIDT exits. KURT and MARIA enter from
the terrace where we can see the guests dancing the Laend-
ler, an Austrian folk dance.)

MARIA: Kutt, I haven't danced the Laendler since I was a
little girl

-57-

KURT: Oh, you remember it — show me—
MARIA: No, I haven't danced since —

(The CAPTAIN has paused on the balcony and f
watches them.)

KURT: Come, you said the left hand behind the back —
MARIA: Yes, that’s right. But first the boy and girl meet.
KURT: Yes. (He bows. She curtsies.)

MARIA: Then they go for a little stroll

(They join hands and cross the stage in a folk-dance
step, to the music coming from the terrace. When they reach
the foot of the stairs they try to execute a movement which
is a little awkward for KURT.)

CAPTAIN: No, that’s wrong, Kurt. Let me show you,

(He hurries down the stairs He takes MARIA’s hand and
they continue the dance as KURT and BRITITTA watch
them. The dance reaches the point at which MARIA and the
CAPTAIN, while holding hands, must execute a figure which
calls for MARIA to turn under the CAPTAIN’s arms and as-
sume a position in which his arms are around her and his
face close to hers. This physical embrace brings an aware
ness to both of them. When this same figure is repeated
MARIA finds herself under the spell of an emotion that she
has never experienced before and does not understand. In
self-consciousness she breaks away.)

MARIA: I-I don’t remember—any more.
CAPTAIN: (Also self-conscious) Well, Kurt—that’s the way
it’s done.

(The music comes to an end. The CAPTAIN exits to the
terrace, as ELSA enters from R. onto the balcony. She
watches the CAPTAIN disappear, then looks with interest
at MARIA.)

BRIGITTA: (Crossing to MARIA) Your face is all red.

MARIA: I guess I’m not very used to dancing.

ELSA: Well, hello there,

MARIA: Good evening, Frau Schraeder. (She exits DR.
ELSA comes down the stairs.)

See

KURT: I hope you're feeling better, Frau Schraeder.

ELSA: Yes, thank you, Kurt.

(KURT exits D.L. MAX and FRANZ enter through the
front door. MAX is wearing a topcoat. FRANZ is carrying
his bag. MAX puts his hands over BRIGITTA’s eyes.)
BRIGITTA: Hello, Uncle Max, we're having a party.

(FRANZ exits upstairs carrying MAX’s suitcase)
MAX: Good. Tell your father it’s sure to be a success. I’m

here,

(BRIGITTA exits to terrace.)

ELSA: (At foot of stairs) Max!

MAX; (R.C.) Elsa! Without a doubt you're the most beauti-
ful corporation president in the entire world. (Kisses
her hand.)

ELSA: Thank you, Max.

CAPTAIN: (Entering from trrrace with LIESL. Crosses to
L. of MAX) Max—you’re back. And as usual just in time
for dinner.

MAX: Georg, did you think you could give a gala without me?

CAPTAIN: Oh, dear, now we have an odd man.

MAX: (Indignantly) A little odd, but charming,

CAPTAIN: Liesl, run and ask Frau Schmidt to set two more
places and I want to see Fraulein Maria.

(LIESL exits D.R.)

ELSA: (Crosses below MAX and CAPTAIN to L.C.) Two
places?

CAPTAIN: We need another woman.

ELSA: Who? Liesl?

CAPTAIN: Oh, no—she’s much too young. I’ll ask Maria.

MAX: You're not serious?

CAPTAIN: But of course!

MAX: She’s a nursemaid.

CAPTAIN: I don’t think of her that way.

MAX: I don’t mind, but your friends—you can’t ask them to
dine with Maria,

=55=

CAPTAIN: Why not?

MAX: Elsa, tell him why not.

ELSA: Max, can you change in a hurry?

CAPTAIN: Yes, Max, we can use you tonight.

(MAX starts up stairs. )

BRIGITTA: (Entering from terrace, crosses to LC.) Frau
Schraeder, they’re talking about you out there

ELSA: Come on, Georg, I’ve been dodging these people for
an hour. (ELSA and CAPTAIN exit to terrace.)

MARIA: (Entering D.R.} Brigitta, have you seen your father?

MAX: (On balcony) Good evening, Fraulein Maria

MARIA: Herr Detweiler, it’s nice to see you again

MAX: Yes, you're going to. (Exits off R.)

BRIGITTA: (D.R.C.) | knew it all along. Frau Schraeder
didn’t have a headache. She just wanted to get out of
the party. She was faking.

MARIA: (Crosses to BRIGITTA) Brigitta, you shouldn’t
say things you don’t know are true.

BRIGITTA: But I do know. | heard her say to Father she'd
been dodging these people.

MARIA: That doesn’t mean that she didn’t have a headache:
It’s very important that you children like Frau Schraeder.

BRIGITTA: | like her all right. Why is it important?

MARIA: Well-I think she’s going to be your new mother.

BRIGITTA: Oh, Fraulein, Father’s never going to marry
her. Why, he couldn’t.

MARIA: Why couldn’t he?

BRIGITTA: Because he’s in love with you.

MARIA: Now Brigitta, that’s just the kind of thing—

BRIGITTA: You must know that—

MARIA: Brigitta—no!

BRIGITTA: Remember the other night when we were all
sitting on the floor singing the Edelweiss song he taught
us? After we finished, you laughted at him for forgetting

~60-.

the words, He didn’t forget the words, He just stopped
singing to look at you. And when he speaks to you, the
way his voice sounds—

(MARIA can’t accept an idea that conflicts with her
commitment to the church.)

MARIA: No, Brigitta, no.
BRIGITTA: And the way you looked at him just now when
you were dancing. You're in love with him.

(MARIA stands in stunned silence, The CAPTAIN en-
ters fram the terrace with GRETL, LOUISA and KURT.)
CAPTAIN: One more dance. Gretl, and then to bed. (He

sees MARIA and goes to her.) Oh, Fraulein Maria, you’re
not going to have dinner with the children tonight. You're
having dinner down here with us. (MARIA shakes her
head—‘‘No! I can’t!”?) Oh, yes! It’s all arranged. You'll
have to hurry. You'll have to change. (She starts up the
Stairs but stops as the CAPTAIN speaks.) Oh, and Matia,
wear the dress you wore the other night-when we were
all singing.—It was lovely—soft and white.

(MARIA stares at him for a moment then quickly exits
upstairs. FRANZ enters from the dining room D.L.)
FRANZ; Shall I announce dinner, Captain?

* ELSA: (Entering from terrace, followed by the guests) Oh,
no, not yet, The children will want to say good night.
Oh.Georg, I wanted the children to say good night the
way they did last night.

CAPTAIN: No, Elsa—not here—

ELSA: Please, Georg, the way they did it for me-it was so
sweet.

CAPTAIN: No, no, not in front of strangers!

ELSA: Please, Georg, for me.

MAX: (Entering on the balcony in evening clothes) Presto
chango!

ELSA: Max, you're just in time, Children—now.

=6ie

(MAX comes down the steps and joins ELSA and the
CAPTAIN. The children line up near the stairs. The guests
assemble at the opposite side of the room.)

CHILDREN: (Singing)
There’s a sad sort of clanging
From the clock in the hall
And the bells in the steeple, too,
And up in the nursery an absurd little bird

Is popping out to say “coo-coo.
Regretfully they tell us
But firmly they compel us
To say “goodbye” to you
So long, farewell
Auf wiedersehen, good night
MARTA: (Steps forward)
Thate to go and leave this pretty sight.
(MARTA exits D.R.) — (Musical interlude.)
CHILDREN: So long, farewell,
‘Auf Wiedersehen, adieu.
KURT: (Steps forward)
Adieu, adieu,
To yieu, and yieu, and yieu (Exits.)
CHILDREN: So long, farewell,
Au’voir, auf wiedersehea
LIESL: (Steps forward)
I'd like to stay and taste my first champagne.
(To the CAPTAIN—speaking) No?
CAPTAIN: (Speaking) No! (LIESL exits. Interlude)
CHILDREN: (Singing)
So long, farewell,
Auf wiedersehen, goodbye.
FRIEDRICH: (Steps forward)
I leave and heave a sigh and say goodbye

Goodbye!

-62-

(KURT exits.)
BRIGITTA: I’m glad to go, I cannot tell a lie
(FRIEDRICH exits.)
LOUISA 1 flit, I float, I fleetly flee, T fly
(BRIGIITA and LOUISA exit together.)
GRETL: (Sitting on the bottom stair)
The sun has gone to bed and so must I
(Still sitting she backs halfway up the steps one at a
time.)
CHILDREN: (Having re-entered on the balcony)
So long, farewell, auf wiedersehen, goodbye
Goodbye, goodbye, goodbye.
(LIESL goes down the steps to GRETL, takes her in
her arms and exits with the others.)
GUESTS: (singing)
Goodbye
(FRANZ announces dinner and the CAPTAIN and the
guests drift off to the dining room L. MAX, excited, goes
to ELSA.)
MAX: Elsa, they’re extraordinary!
ELSA: Fraulein Maria taught them to do it.
MAX: L’ve been looking all over Austria for something like
this for the Festival and I find it here.
ELSA: Wait a minute, Max
MAX: A singing group of seven children in one family.
ELSA: Max! Georg didn’t even want them to sing in front
of the guests tonight. I had to persuade him.
MAX: Ah, then you have influence, You must talk to him
ELSA: Max!
MAX: Elsa! This is important to Austria. And it wouldn’t
do me any harm.
(They exit into the dining room. The music segues into
a slow, soft version of “The Lonely Goatherd.” We see
MARIA come down from the third floor onto the balcony. She

~63-

is wearing the hat and dress she wore the day she first
came to the villa and she is carrying her guitar case and
bag. She makes sure the living room is empty. She comes
slowly down the stairs. She looks unhappily toward the
dining room as though she wanted to say goodbye to some-
one. She looks longingly upstairs where the children have
gone off. She takes a last farewell look around the room,
then slowly and sadly exits to the outer corridor.)

DIM OUT

ACTI
Scene 12

A corridor in the Abbey. SISTER SOPHIA enters, ac-
companied by a young girl carrying a small traveling bag.
She is distinctively and attractively dressed. (She is a new
POSTULANT.) They start down the corridor. From the op-
posite side six nuns enter in double file, chanting.

NUNS: Rex admirabilis et triumphator nobis
Dulcedo ineffabilis totus desiderabilis
Totus desiderabilis.

(SISTER SOPHIA and the young girl watch the nuns as

they go down the corridor and disappear. Then they exit.)
DIM OUT

ACTI
Scene 13

The office of the MOTHER ABBESS, The MOTHER
ABBESS is seated at her desk and SISTER SOPHIA stands
facing her. The new POSTULANT is R. of the desk, sign-
ing her name to @ paper.

MOTHER ABBESS: (Rising) Sister Sophia, take our new
postulant to the robing room. Bless you, my daughter.

~ 64

(The POSTULANT kneels. The MOTHER ABBESS
blesses her. There is a knock on the door U.R.) Ave!
(SISTER MARGARETTA enters U.R. SISTER SOPHIA

and the new POSTULANT exit U.R.)

MARGARETTA: Maria has asked to see you. I know it has
taken her a long time.

MOTHER ABBESS: I waited until she wanted to come to me.

MARGARETTA: It's strange. She’s happy to be here—but
she’s unhappy, too

MOTHER ABBESS: Why did they send her back—do you
know?

MARGARETTA: She doesn’t speak. She hasn't spoken ex-
cept in prayer

MOTHER ABBESS: I shall see her.

MARGARETTA: (Crosses to the door) Maria.

(MARIA enters, goes to the MOTHER ABBESS and

kneels.)

MOTHER ABBESS: (Blessing MARIA) This must have
been a trying experience for you.

MARIA: It was, Reverend Mother.

MOTHER ABBESS; Has it taught you anything?

MARIA: I’ve learned that I never want to leave these walls
again.

MOTHER ABBESS: Why did they send you back to us?
MARIA: (After a moment's hesitation) They didn’t send me
back. I left. I left without telling them I was going,

without saying goodbye.

MOTHER ABBESS: Sit down, Maria. (MARIA sits by the
desk.) Maria, what happened? Why did you do this?

MARIA: I was frightened.

MOTHER ABBESS: Frightened?

MARIA: (With difficulty) I was confused, I felt—I never felt
that way before. I couldn’t stay—and I knew that here I
would be away from it—that here I would be safe.

~68—

MOTHER ABBESS: Maria, our abbey is not to be used as an
escape. What is it you can’t face?

MARIA: I can’t face him again.

MOTHER ABBESS: (After a pause) Thank you, Sister Mar
garetta. (SISTER MARGARETTA exits U.R. The MOTHEL
ABBESS stands behind MARIA. She puts her hands on
MARIA’s shoulders and speaks quietly.) Maria, are you in
love with Captain von Trapp?

MARIA: (Torn) I don’t know. I don’t know.

MOTHER ABBESS: Tell me about it, my child.

MARIA: (ith emotion) Brigitta said that | was—and that her
father was in love with me—and then there he was—and
we were looking at each other—and I could hardly breathe
Then I knew I couldn’t stay. (She rises.)

MOTHER ABBESS: But you do like him, Maria?

MARIA: Oh, yes!

MOTHER ABBESS: Did you let him see how you felt?

MARIA: (Turning to her) If | did I didn't know that | did.
That’s what's been torturing me: I was thete on God’s
errand, To have asked for the Captain’s love would have
been wrong. I don't know, Mother. 1 do know this— (She
kneels before the MOTHER ABBESS.) | am ready at this
very moment to take the vows of poverty, obedience and
—chastity.

MOTHER ABBESS: (Helping MARIA to rise) Matia, the love
of aman and a woman is holy, too. The first time we
talked together-you told me that you remembered your
father and mother before they died. Do you remember—
were they happy? (She seats MARIA on the stool.)

MARIA: Oh, yes, Mother, they were very happy.

MOTHER ABBESS: Maria, you were born of their happiness,
of their love. And, my child, you have a great capacity
to love. What you must find out is—how does God want
you to spend your love. (The MOTHER ABBESS sits at
her desk.)

—66-

MARIA: I’ve pledged my life to God’s service. I’ve pledged
my life to God.

MOTHER ABBESS: My daughter, if you love this man, it
doesn’t mean that you love God less, You must find out.
You must go back

MARIA: (Rising) Oh, no, Mother, please, don’t ask me to do
that. Please! Let me stay here. (MARIA circles behind
the desk and sinks at the feet of the MOTHER ABBESS.

MOTHER ABBESS: These walls were not made to shut out
problems, You have to face them, You have to find the
life you were born to live.

MARIA: How do I find it?

MOTHER ABBESS: Look for it. (Her arm around MARIA.
She sings.) Climb every mountain

Search high and low
Follow every byway
Every path you know.

Climb every mountain
Ford every stream
Follow every rainbow
Till you find your dream.

A dream that will need all the love you can
give
Every day of your life for as long as you
live.
(The MOTHER ABBESS rises.)
Climb every mountain
Ford every stream
Follow every rainbow
Till you find your dream.
‘A dream that will need all the love you can
give
(She lifes MARIA to her feet.)

=67=

Every day of your life for as long as you live
(The MOTHER ABBESS crosses R.)

Climb every mountain
Ford every stream
Follow every rainbow

Till you find your dream,

(As the song swells to its finish, MARIA removes the
postulant’s veil from her head and stands transfixed.)

END ACTI

-~68-

ACT IL
Scene I

The terrace. CAPTAIN’ s guitar is on coffee table.
Ent? acte continues into scene and song. MAX, blindfolded,
and the children are playing blind man’s bluff and singing
“The Lonely Goatherd.”” FRIEDRICH is standing on a
chair, MARTA is standing on @ bench, BRIGITTA (at first)
is sitting on the stool reading, then joins in game.

MAX: (Singing) One little girl in a pale pink coat heard

MARTA: Layee odl, layee od layee 0
KURT: She yodeled back to the lonely goatherd
LOUISA: Layee odl, layee odl 0

ALL: Soon her Mama with a gleaming gloat heard
MAX: Layee odl, layee od! layee 0

GRETL: (Teases MAX by poking him with guitar)
What a duet for a girl and goatherd
(LIESL pulls off MAX’s blindfold, then takes guitar
from GRETL.)
MAX: (Strutting L.C.)
Layee odl, layee odl o
ALL: (Mimicking MAX)
O ho, layee od! lee o~
(MAX stops the singing.)
MAX: Enough. Now sing seriously. Liesl, give us a key.
(He conducts. LIESL strikes a note. Children are in

a vague line up R. stage very informally.)

ALL: (Singing) Do-~me—so—do.

MAX: (Gives conductor cut-off. Speaking) That’s nice—very
nice—except it’s no good. Imagine that you're standing
on the stage of a big concert hall

LOUISA: What concert hall, Uncle Max?

MAX: Any concert hall—maybe Kaltzberg Concert Hall—but
a concert hall full of people. Now, once more.

-69-

ALL: (Singing) Do—me—so—do.
(MAX stops them individually, GRETL, who is sitting
on the terrace step, last.)

MAX: Gretl, why don’t you sing loud?

GRETL: I've got a sore finger. (She holds up a bandaged

finger.)

MAX: (Kissing her finger) Now you can sing loud for Uncle
Max. The night of the party you sang so beautifully—
with such spirit. Well—let’s try again. (He gives them a
downbeat. They hit a chord. The CAPTAIN and ELSA
enter from the garden. MAX sees them and stops the
singing.) They wanted to sing for me, the darlings, but
they don’t sing as well as they used to.

LOUISA: We need Fraulein Maria.

CAPTAIN: (Taking the guitar from LIESL) We do not need
Fraulein Maria, You can sing just as well with me.

MAX: But I’ve had experience with choirs, quartets, glee
clubs—

CAPTAIN: Max, please~ (To the children.) Now what
would you like to sing? (singing.)

Doe, a deer, a female deer—

KURT: Fraulein Maria always started with—

CAPTAIN: We are not to mention Fraulein Mars—

ELSA: (Sensing something) Come on, Max, | feel like a
brisk walk.

MAX: That’s just what I need— (He follows her, turns.)

Is anyone using the car? (MAX and ELSA exit U.L.)

CAPTAIN: Now, what are you going to sing?

(LIESL starts and conducts the children in:)

CHILDREN: (Singing)

The hills are alive
With the sound of music
(The CAPTAIN joins the singing.)

-70-

With songs they have sung
For a thousand years
(The CAPTAIN stops.)

CAPTAIN: No, not that— (Leading LOUISA aside.) Louisa,
did you play any of your tricks—any of your jokes—on
Fraulein Maria?

LOUISA: Only those she liked and laughed at

CAPTAIN: You didn't put toads in her bed?

LOUISA: No, Father.

CAPTAIN: Well, something must have happened—for her to
leave us without even saying goodbye

GRETL: Isn’t Fraulein Maria coming back?

CAPTAIN: No, darling. 1 don’t think so.

MARTA: But she was the best governess we ever had.

CAPTAIN: You're not going to have a governess any
more.

LOUISA: Oh, good!

KURT: I’m not sure that’s good.

CAPTAIN: You’re going to have a new mother.

LIESL: A new mother?

FRIEDRICH: Frau Schraeder?

CAPTAIN: (Hands LIESL the guitar) Yes. It was all settled
last night. I’m very happy. Well, it’s time for your after-
noon walk. (LIESL kisses him. He exits into the house.)

LOUISA: (At stool) When Fraulein Maria wanted to feel
better, she used to sing that song-remember?

LIESL: (Putting guitar on coffee table) Yes.

BRIGITTA: (L. of coffee table) All right. Let’s try it

ALL: (Wandering listlessly. singing)

Raindrops on roses

And whiskers on kittens
Bright copper kettles
And warm woolen mittens
Brown paper packages—

-71-

(ORCHESTRA joins in.)

Tied up with strings

These are a few of

My favorite things
GRETL: (D.C.) Why don’t I feel better?

(Children start to sing but drop out one by one as they

hear MARIA offstage.)
MARIA: (Offstage)
Girls in white dresses with blue satin sashes,
Snowflakes that stay on my nose and
eyelashes,
Silver-white winters that melt into springs
These are a few of my favorite things.
CHILDREN: Maria!—Maria’s back!

(They run to meet her as she enters U.L. She is wear
ing the suit and hat we saw the new POSTULANT wear.
FRIEDRICH takes her guitar and sets it above the stool.
KURT takes suitcase and drops it back of stool.)

MARIA and CHILDREN: (Singing)
When the dog bites, when the bee stings,
When I’m feeling sad
I simply remember my favorite things,
And then I don't feel so bad.

(FRIEDRICH arranges guitar and suitcase.)

MARIA: (Hugging them C.S.) Children, children, I’m so
happy to see you. I must find your father right away.

MARTA: I’ll find him. (She runs into the house.)

KURT: I'll go with you. (He follows MARTA into the house.)

MARIA: (To GRETL) How's your sore finger?

GRETL: You remembered!

MARIA: Liesl—are you all right?

LIESL: (Soberly) Yes, Fraulein, I’m all right.

MARIA: Many telegrams lately?

LIESL: No, Fraulein, Now I'll be glad to go to boarding
school.

~72-

MARIA: Liesl, you can’t use boarding school to escape
your problems. You have to face them. (Embraces
LIESL.) Oh, T have so much to talk to you about

LOUISA; We have some things to tell you, too.

MARIA: You must have a great deal to tell me.

BRIGITTA: I guess the most important thing is that
Father’s going to be married.

MARIA: Married?

LOUISA: To Frau Schraeder.

MARIA: Are you sure?

BRIGITTA: Oh, yes, he just told us-he told us himself

(KURT and MARTA enter from house.)

KURT: We found him.

(CAPTAIN enters from house.)

CAPTAIN: Liesl—

LIESL: Louisa, Brigitta, boys! Maria, we'll be in the
nursery. (Children exit into house. }

CAPTAIN; You've come back?

MARIA: Yes, Captain.

CAPTAIN: You left us without any explanation whatsoever
—without even saying goodbye.

MARIA: It was very wrong of me. Forgive me.

CAPTAIN: Why did you do this to us? Tell me.

MARIA: Please don’t ask me, Anyway, the reason no longer
exists. (Crosses and picks up guitar case and carpet bag,)

CAPTAIN: Then you're back to stay?

MARIA; Only until you can make arrangements for another
governess

CAPTAIN: Oh, no! You've been missed by the children,
I've missed—everybody missed you very much. Nothing
was the same while you were away. Everything was
wrong.

MARIA: But I—

-73=

CAPTAIN: We'll talk about it later. You go up to the
children now. (MARIA starts toward house.) Maria, a
new dress?

MARIA: We have a new postulant. (She exits into the
house. CAPTAIN sits L. of coffee table, strumming
guitar.)

ELSA: (Entering from garden) 1 know I’m right, Max
We'll find him and ask him.

MAX: (Following her on and crossing C.) I'll take your
word for it, Elsa.

ELSA: Georg, settle this for Max and me, will you. How
far down the mountain does your property go?

CAPTAIN: Can you make out that stone wall? That's the
property line.

ELSA: (Turning to MAX) You see.

MAX: (Sits on bench L.)I didn’t argue about it

ELSA: I know, that makes me furious. I don’t like to win
without a fight.

FRANZ: (FRANZ enters from the house) Herr Detweiler, while
you were gone, you had along distance call from Berlin.

MAX: (Innocently) Who could be calling me from Berlin?

FRANZ: They said you’d know who it was,

MAX: Oh’. Thank you, Franz. (FRANZ exits to the house.)
Georg, what were we just talking abont?

CAPTAIN: Max, this isn’t the first call you've had from
Berlin.

MAX: Georg, you know I have no political convictions. Can
T help it if other people have?

ELSA: Let’s not stir that up again, The Germans have
promised not to invade Austria. (Crosses to R. of coffee
table.) Max knows that.

CAPTAIN: Then why does he bother to answer those calls
from Berlin?

MAX: Because if they don’t keep their promise, I want to
have some friends among them.

=74-

ELSA: Naturally.

CAPTAIN: Oh, you agree, too?

MAX: (Rises, crosses to CAPTAIN) Georg, this is the way
T look at it. There was a man who was dying. They were
giving him the last rites. They asked him, “Do you re-
nounce the devil and all his works?” and he said, “At
this moment, I prefer not to make any enemies.”
(Crosses L, CAPTAIN strums his guitar.)

ELSA: Georg-if they—if they should invade us—would you
defy them?

CAPTAIN: . . . Yes.

MAX: (Crosses to CAPTAIN) Do you tealize what might
happen to you? To your property?

ELSA: To your children?

MAX: To everyone close to you. . . to Elsa. . . to me!

CAPTAIN: (Rises, crosses D.R.) Well, what will you do
if they come?

MAX: (Takes chair L. of coffee table, places it D.C. and
sits) What anyone with any sense would do—just sit
tight and wait for it all to blow over.

CAPTAIN: And you think it will?

MAX: One thing is sure—nothing you can do will make any
difference. (Rises, crosses L.C.)

ELSA: (Crosses above D.C. chair, pushing CAPTAIN on
to chair) Don’t look so serious, darling. Take the world
off your shoulders. Relax.

ELSA: (Above CAPTAIN)

You dear attractive dewy-eyed idealist,
Today you have to leam to bea realist.
MAX: You may be bent on doing deeds of derring-do
But up against a shark what can a herring do?
ELSA: (Moves to MAX, L. of CAPTAIN)
Be wise, compromise!
CAPTAIN: Compromise, and be wise!

-75-

ELSA: Let them think you’re on their side, be non-

committal
CAPTAIN: I will not bow my head to the men I despise.
MAX: You won't have to bow your head, just

stoop a little,
(He stoops a little.)
ELSA: (Moving behind CAPTAIN)
Why not leam to put your faith and your
reliance
On an obvious and simple fact of science?
(ELSA crosses R.)
A crazy planet full of crazy people
Is somersaulting all around the sky,
And every time it turns another somersault,
Another day goes by!

And there's no way to stop it,
No, there’s no way to stop it,
(Crosses to CAPTAIN.)
No, you can’t stop it even if you try.
So I’m not going to worry,
No, I'm not going to worry,
Every time I see another day go by.

(MAX crosses U.S. and back D.S., stopping CAPTAIN
from playing guitar by putting his hands over the strings.
ELSA goes to U. stage chair.)

MAX While somersaulting at a cock-eyed angle,
We make a cock-eyed circle around the sun.

(Circle around CAPTAIN.)

‘And when we circle back to where we
started from,
Another year has run.

(CAPTAIN hits chord on guitar, crosses S.L.)

MAX and ELSA:
And there’s no way to stop it,

~76-

No, there’s no way to stop it
If the earth wants to roll around the sun!
You're a fool if you worry
(MAX crosses SL.)
You're a fool if you worry
(CAPTAIN turns to ELSA.)
Over anything but little Number One!
CAPTAIN: That’s you!
ELSA: (Indicating herself)
That's 1.
MAX: (Indicating himself)
And
CAPTAIN: And me!
That all-absorbing character!
ELSA: (Steps in front of CAPTAIN)
That fascinating creaturet
MAX: (Steps in front of ELSA)
That super-special feature—
ALL: (MAX and ELSA separate-CAPTAIN sits on stool)
Me!
CAPTAIN: So every star and every whirling planet,
And every constellation in the sky
Revolve around the center of theuniverse,
A lovely thing called I!
(Spreads arms, guitar in right hand—MAX takes
guitar. CAPTAIN rises.)
ALL: ‘And there's no way to stop it,
(MAX points guitar at CAPTAIN.)
No, there’s no way to stop it,
And I know though I cannot tell you why.
CAPTAIN: (Speaks) That's charming!
ALL: That as long as I’m living,
Just as long as I’m living,
There'll be nothing else as wonderful as

=77-

ELSA if
ALL: bog
(MAX pretends to strum the back of the guitar. The

CAPTAIN grabs it and plays, one foot on chair D.C.,

crossing to chair D.S. ELSA starts to follow but is stopped

by MAX.) —_ Nothing else as wonderful as T

CAPTAIN: (Putting chair back L. of table) I! Me! On one
thing alone we agree. , . each one is important to him-
self... but you can’t save yourself by giving up, and
you don’t outwit a lion by putting your head—

FRANZ: (Entering from house, addressing MAX) Your call
from Berlin, sir.

CAPTAIN: (Pointing to FRANZ) —in the lion’s mouth.

MAX: (After a hesitation) I'll call them back—

ELSA: (L. of MAX, quietly) You might as well talk to
them now, Max.

CAPTAIN: Go, go, go.

(MAX exits into house followed by FRANZ.)

ELSA: (After a pause) Georg-I feel | know what’s going to
happen here. Can’t you see things my way?

CAPTAIN; No=not if you’re willing to see things their way
ELSA: (Crosses D.L. before she speaks) There’s one thing
you do better here than we do in Vienna—your sunsets

I'm going to miss them.

MARIA: (Entering from house) Captain— Oh, I beg your
pardon

ELSA: Maria! Georg, you didn’t tell me Fraulein Maria was
back. I’m delighted.

MARIA: (D.R.) Thank you. Captain, the children would like
to know if they could take a holiday from their lessons
tomorrow so that we can go on a picnic.

CAPTAIN: Yes, I don’t mind.

MARIA: That will make them very happy. And may I be per-
mitted to wish you happiness too, Frau Schraeder—

~78-

Captain. The children have told me that you're going
to be married.

ELSA: Ob? I’m afraid the children were wrong. (Crosses
C. ta CAPTAIN who stands.) Georg, I've got to finish
my packing if I’m to get back to Vienna

CAPTAIN: If you feel you must. Ill tell Franz to have the
car ready

ELSA: I can do that. (As he kisses her hand she drops his
engagement ring into his hand.) Auf Wiedersehen, Georg.
Goodbye, Maria. (She exits into the house. CAPTAIN
walks U.C.)

MARIA: I'm sorry if I said something I shouldn't have said

CAPTAIN: You did say the wrong thing—but you said it at
the right time.

MARIA: The children told me that you were going to marry
Frau Schraeder.

CAPTAIN: (Crosses D.C.) We found we just couldn't go
the same way. That door is shut.

MARIA: Sister Margaretta always says, “When God shuts
a door—”

CAPTAIN: I know—“He opens a window.” Maria, why did
you run away to the Abbey?. . . What made you come
back?

MARIA: The Mother Abbess—she said that you have to
look for your life.

CAPTAIN: Often when you find it, you don’t recognize it,

MARIA: No.

CAPTAIN: Not at first. Then one day—one night—all of a
sudden, it stands before you.

MARIA: Yes.

CAPTAIN: (Crosses to MARIA) 1 look at you now, and I
realize this is not something that has just happened.

It is something ’ve known—deep inside me—for many
weeks. . . You knew it, too! (She nods.) What was it
that told you?

~79-

MARIA: (Crossing L. to CAPTAIN) Brigitta. She said—
when we were dancing—that night—
CAPTAIN: She was quite right. That was not just an
ordinary dance, was it?
MARIA; I hadn't danced since I was a very little girl. It’s
quite different after you're grown up, isn’t it?
CAPTAIN: When you were a very little girl, did a very little
boy ever kiss you?
MARIA: Uh-huh
CAPTAIN: ‘That's quite different, too.
MARIA: Is it? (They kiss.) It is different
CAPTAIN: Your whole life will be different now, Maria
I'll take you anywhere you want to go-give you any-
thing you wish
MARIA: But I don’t want to go anywhere. All I could wish
for is right here. (MARIA moves S.L. of CAPTAIN.
Standing, sings.)
‘An ordinary couple
Is all we’ll ever be,
For all I want of living
Is to keep you close to me,
(MARIA takes his hand.)
To laugh and weep together
While time goes on its flight,
To kiss you every morning
‘And to kiss you every night.
(Looks at CAPTAIN.)
We'll meet our daily problems
And rest when day is done,
Our arms around each other
In the fading sun.
An ordinary couple,
(CAPTAIN moves to MARIA.)
Across the years we’ll ride,

-80-

Our arms around each other,
And our children by our side. .

(Holds her hand.)

Our arms around each other.

(CAPTAIN moves as if to kiss MARIA-MARIA moves
to bench—back to the CAPTAIN. CAPTAIN and MARIA
cross D.C.)

CAPTAIN: (Speaks) You know—those two ought to get
together sometime.
MARIA: Who? (Looking at CAPTAIN.)
CAPTAIN: The Mother Abbess and Brigitta. (MARIA sits.
CAPTAIN Sings.)
An ordinary couple
That's all we'll ever be
For all I want of living
Is to keep you close to me.
(CAPTAIN puts hands on her shoulders.)
To laugh and weep together
While times goes on its flight,
To kiss you every morning,
And to kiss you every night—

(MARIA'S left hand on CAPTAIN's right hand, Kisses

her hand.)

MARIA: (Still sitting)
We'll meet our daily problems
And rest when day is done,
Our arms around each other
In the fading sun

(MARIA rises, They both move downstage. She puts

her arms to him.)

BOTH ‘An ordinary couple
Across the years we'll ride
Our arms around each other
‘And our children by our side. . .

ser

Our arms around each other!
(They kiss.)
CAPTAIN: (Speaks) Maria, is there someone I should go
to—to ask permission to marry you?
MARIA: Why don’t we ask the children?
(They run into house laughing, The Traveller Closes)

ACT II
Scene 2

A corridor in the Abbey, front of traveller. Three
young postulants run on from D.R. but stop short as they
almost collide with four nuns who are crossing from the
other direction (D.L.) The postulants stand back with pre-
tended meckness. Just before the nuns disappear two of
them look back at the postulants with a quiet smile, The
nuns exit D.R. The postulants make sure they are gone,
then run off in the opposite direction (D.L.) Two other
nuns enter S.R. carrying the MOTHER ABBESS’s cere-
monial cape. SISTER MARGARETTA and SISTER BERTHE
enter from the opposite side and accept the cape. The nuns
exit, R. The MOTHER ABBESS enters, L. SISTER MARGA-
RETTA and SISTER BERTHE solemnly put the cape on
the MOTHER ABBESS’s shoulders. The three raise their
hands in silent prayer and then exit, R.

ACT II

Scene 3

The office of the Mother Abbess. A small suitcase is
open ona stool, L.C. As the lights come up we see MARIA,
C., being dressed for ker wedding, Some of the nuns are
helping to put on and adjust the overskirt of her wedding

—82-

dress with its veil. The MOTHER ABBESS enters, UR
followed by SISTER BERTHE and SISTER MARGARETTA.
The MOTHER ABBESS goes to one side of MARIA, the two
sisters to the other side, and they stand admiring her.
MARIA: Reverend Mother, have I your permission to look at

myself? I brought a mirror, It’s in my suitcase—
MOTHER ABBESS: Sister Berthe!

(SISTER BERTHE opens the suitcase and searches
for the mirror. Ske takes a sheer nightgown from the suite
case and holds it up.)

SISTER BERTHE: Sister Margaretta!

SISTER MARGARETTA; I don’t think she’s had time to
put in the linings.

MOTHER ABBESS: Sister Berthe, the mirror,

STER BERTHE gives the mirror to MARIA, who

looks at herself.)

MARIA: Why, Mother—I look—

MOTHER ABBESS: Don’t be vain, my daughter, Let me
say it for you. You are indeed beautiful, my dear.

(MARIA returns the mirror to SISTER BERTHE. SISTER
SOPHIA hands a white prayer book to MARIA, A nun hands
the MOTHER ABBESS a wreath of myrtle. MARIA kneels
D.R. as the MOTHER ABBESS places this symbol of vir-
ginity on MARIA's head. MARIA moves forward to take her
position for the wedding march. The nuns break into a joy-
ous chant.)

NUNS: (Singing) Gaudeamus omnes in Domino dicum festum
celebrantes.

ACT IL
Scene 4

A corridor in the chapel. The action continues unin-
terrupted from the preceding scene. The metal grille is

~83—

lowered between MARIA and the nuns. Behind the nuns a
drop is lowered suggesting the dome of a chapel. MARIA
makes a gesture of farewell to the MOTHER ABBESS, The
nuns line up behind the grille to watch the march to the
altar and a ceremony of which they cannot be a part. The
VON TRAPP girls enter D.R. dressed for the wedding and
take their places in front of MARIA. LIESL and LOUISA
are in front, behind them are BRIGITTA and MARTA then
GRETL, carrying a bouquet of roses. (The other girls
carry small nosegays.) KURT and FRIEDRICH enter, D.L.,
FRIEDRICH carrying a velvet pillow on which rests the
CAPTAIN’s Navy hat. He is followed by CAPTAIN VON
TRAPP in dress uniform, wearing his sword and decora-
tions.KURT crosses to MARIA and offers his arm. je wed-
ding march starts. The wedding procession moves to its
solemn rhythm. Against the wedding march the nuns sing

in counterpoint.
NUNS: (Singing)

How do you solve a problem like Maria?

‘How do you catch a cloud and pin it down?

How do you find a word that means Maria?

A flibbertijibbet, a will-o’-the-wisp, a clown!

Many a thing you know you'd like to tell her,

Many a thing she ought to understand,

But how do you make her stay

And listen to all you say?

How do you keep a wave upon the sand?

How do you solve a problem like Maria?

How do you hold a moonbeam in your hand?

(During the above chorus the girls and MARIA are

crossing the stage. Just before they reach C., they stop.
GRETL turns, curtseys to MARIA and hands her the bou-
quet of roses. KURT leaves her side and stands with his
back to the grille, where he joins FRIEDRICH. The CAP-

28e

TAIN takes his place beside MARIA, offering her his arm.
The procession continues until it disappears offstage, L..,
KURT and FRIEDRICH falling into line behind the CAP.
TAIN and MARIA, The nuns come from either side of the
grille, forming a line in front of it, the MOTHER ABBESS
C. The traveller closes behind them. They sing joyfully.)
NUNS: (Singing)

Confitemini, Domino

Quoniam Bonus, Quoniam Bonus

Quoniam in Saeculum

Misericordia Ejus

Confitemini, Domino

Quoniam Bonus, Quoniam Bonus

Quoniam in Saeculum

Misericordia Ejus.

Alleluia, Alleluia
Alleluia
Alleluia

Alleluia, Alleluia
Alleluia, Alleluia

Gaudeamus, Gaudeamus
Omnes in Domino
Diem Festum Cellebrantes.
(The MOTHER ABBESS bows to the nuns and all exit.)
Dim Out

ACT Il

Scene 5

The living room. As the curtains part, MAX enters the
balcony with some printed programs in his hand.
MAX: (Coming down the stairs) Children, children! Lies!,
Friedrich, Gretl, Kurt, Marta. . . See! Kaltzberg Festival,

ee

1938. (LIESL, BRIGITTA and GRETL with doll enter
from the terrace. MAX holds up the programs.) Look
here! The Trapp Family Singers! And here are all of
your names. . . Liesl, Friedrich, Louisa, Kurt, Brigitta,
Marta and Gretl.

GRETL: Why am I always last?

LIESL: Because you're the youngest

MAX: Liesl, I'm depending on you. Day after tomorrow you
must all be ready at 11 o’clock in the moming. That's
when— (FRAU SCHMIDT enters from the terrace.)

FRAU SCHMIDT: Hem Detweiler, can you help me, please?
The Gauleiter is here. He wants to know why we aren’t
flying the new flag.

(HERR ZELLER enters from the terrace. Ile is in
civilian clothes, He has no kat.)

ZELLER: (Saluting MAX) Heil!

FRAU SCHMIDT: | tried to explain—

ZELLER: Keep quiet. (To MAX.) When is Captain von
Trapp returning?

MAX: (Crosses to ZELLER) Who knows? When a man is on
his honeymoon—

ZELLER: These are not times for joking! It’s been four
days since the Anschluss. This is the only house in the
province that is not flying the flag of the Third Reich.

BRIGITTA: You mean the flag with the black spider on it?

MAX: Brigitta!

ZELLER: Do you permit such remarks in this house? Who
are you?

MAX: I am Maximilian Detweiler, First Secretary of the
Ministry of Education and Culture.

ZELLER; That was in the old regime.

MAX: In theold regime I was Third Secretary. Now I'm
First Secretary.

ZELLER: Good! Then you will order them to fly the flag.

=be-

FRAU SCHMIDT: Captain von Trapp wouldn’t-I mean, I
can take my orders only from Captain von Trapp.

ZELLER: You will take your orders from us—and so will
the Captain. (To MAX, saluting.) Heil!

MAX: (Reluctantly Salutes) Heil!

(ZELLER exits to terrace.)

GRETL; Why was he so cross?

FRAU SCHMIDT: Everybody's cross these days. (She
exits D.R.)

LIESL: (Crosses C. to MAX) ls Father going to be in
trouble?

MAX: He doesn’t have to be. The thing to do today is to
get along with everybody. (Crosses to chair R. of
table.) Now, Liesl, be sure you get all the children on
the bus at 11 o’clock. (LIESL crosses to chair R. of
sofa}

BRIGITTA: (R. of MAX) Uncle Max, are you sure this is
going to be all right with Father?

MAX: He'll be pleased and proud

BRIGITTA: Liesl, do you think so?

MAX: (Kneeling C.) Brigitta, don’t you trust me?

BRIGITTA: No.

MAX: (Rising) Well, anyway, the bus leaves at 11 o’clock.

FRANZ: (Entering U.C. with two suitcases) Fraulein
Liesl, see what I have here.

LIESL: That’s Father’s luggage.

FRANZ: Yes, they're back. (He exits upstairs. BRIGITTA
and GRETL rush out U.C.)

MAX: (A¢ sofa) Liesl, they'll have such a lot to tell us,
let’s not hurry about telling them anything.

(Children enter running to front door. MARTA, LOUISA
from D.L., KURT and FRIEDRICH from balcony.)
CHILDREN: They’re back, they’re back!

(CAPTAIN and MARIA enter U.C. surrounded by the
children.)

~87—

MARIA: Max!

MAX: (Below sofa) Georg, we didn’t expect you back until
next week.

CAPTAIN: (C.)Max, it’s good you’re here. There’s much I
want to know,

MARIA: (L. of CAPTAIN) Children, we missed you so very
much

GRETL: What did you miss most?

MARIA: We missed all that noise you make in the morning—

CAPTAIN: That noise you make telling each other to be
quiet. We missed climbing upstairs to say goodnight to
you.

MARIA: We missed hearing you sing.

BRIGITTA: You came back just in time to hear us sing.
Look, Father, we're going to sing in the Kaltzberg Fes-
tival Friday night. (She shows him a program. MAX turns
away.)

CAPTAIN: Let me see that. (He looks at program. Crosses
D.C.) Max, are you responsible for this?

MAX: (Coming to him) I've just been waiting to talk to you
about it, Georg,

CAPTAIN: (Crosses L.) You can't talk your way out of
this one.

(FRANZ and FRAU
packages.)
FRIEDRICH: Presents!
CHILDREN: (Taking presents and running upstairs with

SCHMIDT and FRANZ) Give me mine. Where's mine?
Let’s open them in the nursery. Where’s mine?

(They exit except for LIESL who remains on balcony.
MARIA is taking her hat off at table R.)

MAX: (Crosses to CAPTAIN) Now, Georg, I had to make a
last minute decision—I was very fortunate to be able to
enter them at all-they’ll be the talk of the Festival—
seven children in one family—

(MIDT enter U.C. with

—88-

CAPTAIN: Not my family!

MAX: The committee heard them—they were enchanted.

MARIA: (Crosses D.L. to MAX) Really, Max. What did they
say?

MAX: You never heard such praise.

MARIA: Georg, did you hear—

CAPTAIN: (Quietly, but firmly) The Von Trapp Family does
not sing in public.

MARIA: But if they make people happy—

MAX: And for the Festival-people come from all over the
world—

CAPTAIN: (Crosses to steps) It is out of the question!

MAX: Georg, it’s for Austria.

CAPTAIN: There is no Austria. (He goes upstairs.)

MAX: But the Anschluss happened peacetully. Let’s at
least be grateful for that.

CAPTAIN: Grateful? (Then, quietly.) To these swine? (He
exits on balcony. LIESL comes downstairs.)

MAX: (C_) Maria, he must at least pretend to work with these
people. I admire the way he feels—but you must convince
him, he has to compromise.

MARIA: (Below sofa) No, Max, no.

MAX: Maria, you must.

MARIA: Max, I can’t ask Georg to be less than what he is.

MAX: Then I will talk to him. If these children don’t sing
in the Festival—well, it would be a reflection on Austria
~and it wouldn't do me any good. (He exits up back steps
to balcony.)

LIESL: (Crosses to MARIA) Matia, U've always known you
loved us children. Now I know you love Father.

MARIA: (Sits sofa) do, Leisl. 1 love him very much

LIESL: (Sits R. of MARIA) How can you be sure?

MARIA: Because I don't think first of myself, any more, I
think first of him. I know now how to spend my love.

~89—

(Sings. Holding LIESL’s hand.)
A bell is no bell till you ring it,
A song is no song till you sing it,
And love in your heart
Wasn’t put there to stay—
Love isn’t love
Till you give it away.

When you're sixteen, going on seventeen,
Waiting for life to start,
Somebody kind
Who touches your mind
suddenly touch your heart!
LIESL: When that happens, after it happens,
Nothing is quite the same.
Somehow you know
You’ll jump up and go
If ever he calls your name!
MARIA: Gone are your old ideas of life,
The old ideas grow dim—
Lo and behold! You’re someone’s wife
‘And you belong to him!
You may think this kind of adventure
(Puts arm around LIESL.)
Never may come to you.
Darling Sixteen-goin g-on-Seventeen,
Wait—a year—or two.

LIESL: Vil wait a year
BOTH: (They embrace)
or two!

(FRAU SCHMIDT enters U.C.)
FRAU SCHMIDT: There's a telegram for the Captain,
(ROLF has followed FRAU SCHMIDT on. She exits
D.R.) \
LIESL: Rolf! Rolf, I’d like you to meet my mother—my new
mother.

~90-

MARIA: (Rising) Rolf, Iam glad to meet you finally

ROLF: (C. Coldly)1 have a telegram for Captain von
Trapp. (He holds it out. FRANZ enters on the balcony
and starts downstairs. )

MARIA: You stay here.with Liesl. I'll take it to him, (She
starts R., reaching for the telegram. He snatches it
away. She stops at his R.)

ROLF: I’m under orders to make sure the Captain gets it.

MARIA: I think you can trust me to give it to him

ROLF: I have my orders.

LIESL: Silly, they’te married. (ROLF sees FRANZ.)

ROLF: Oh, Franz This telegram is to be delivered into
the hands of Captain von Trapp

FRANZ: (Saluting) Heil!

ROLF: Heil! (ROLF returns the salute and gives him the
telegram in front of MARIA’s face. FRANZ, exits
upstairs.)

LIESL: (Shocked) Rolf!

MARIA: Even Franz.

ROLF: Yes, even Franz. Even me! Even everybody in
Nonnberg except the great Captain von Trapp. If he
knows what's good for him, he’ll come over to the right
side.

LIESL: Rolf, don’t talk like that,

(FRANZ re-enters balcony, comes down steps.)

ROLF: And if he doesn’t, he’d better get out of the country
~there are things that happen today to a man like that.
He'd better get out quick. (L/ESL runs to MARIA.) Cry
all you want, but just remember what I said before it’s
too late. (To MARIA.) And you remember too. (He exits
U.C. followed by FRANZ.) >

MARIA: Liesl—don’t cry.

LIESL: How could he tum on Father that way?

MARIA: Liesl—maybe he wasn’t threatening your father—
maybe he was warning him.

-~91-~

(CAPTAIN enters balcony, an open telegram in his
hand.)

CAPTAIN: LiesI— (LIESL, runs out D.R.)

MARIA: What is it Georg?

CAPTAIN: (Coming down stairs) 1 didn’t think I would
have to face a decision this soon. Berlin has offered
me a commission in their Navy.

MARIA: (Crosses to him D.R.) Well, Georg?

CAPTAIN: I can’t just brush this aside. I admit it would
be exciting to have a ship under me again. What I mean
is~it would be a relief and a comfort to know that you
and the children are safe. Butit also means— Please,
Maria, help me

MARIA: Georg, whatever you decide, will be my decision.

CAPTAIN: Thank you. I know now I can’t do it.

MARIA: Of course not.

CAPTAIN: We'll have to get out of Austria right away

MARIA: You’ll have to leave—tonight—now.

CAPTAIN: Not without my family. And we can’t just pick
up and leave. They'll be watching us now. We’ll have
to plan— (Doorbell. ) —we’ll have to have time

(Offstage: “Heil.” FRANZ enters U.C.)

FRANZ: Sir—Admiral von Schreiber of the Navy of the
Thitd Reich is here to see you.

CAPTAIN: Thank you, Franz. (FRANZ exits U.C.) They
didn’t give us time

MARIA: Then we'll have to make time.

CAPTAIN: I’ll bring him in. We must be careful. (He exits
U.C. MARIA prays, looks at Festival program in her
hand, then runs upstairs.)

MAX: (Entering on balcony followed by LIESL) What’s
happening? Storm troopers! That’s what I was afraid of,
Maria.

MARIA: (On landing) Max, stay with Georg. I need the

92 -

children. Liesl, quickly, find the children. Quickly—
(MARIA exits to third floor. MAX comes downstairs,
LIESL exits on balcony. CAPTAIN enters U.C. with
VON SCHREIBER and ZELLER. VON SCHREIBER is
in the uniform of a German admiral.)

CAPTAIN: This way, Admiral, we can talk in here. Admiral
von Schreiber, may I present Herr Detweiler. . . Max |
think you know Herr Zeller, Would you gentlemen care
to sit down?

ZELLER: (U.R.C.) We are here on business.

VON SCHREIBER: (L.C.) Captain von Trapp, a telegram
was sent to you three days ago

CAPTAIN: (C)I have just received it, I’ve been away.
I've only been home half an hour.

MAX: Captain von Trapp has just returned from his honey-
moon, sir.

VON SCHREIBER: Congratulations, Captain,

CAPTAIN: Thank you, sir.

VON SCHREIBER: Your record in the war is very well re-
membered by us, Captain

CAPTAIN: It’s good to hear you say that, sir.

ZELLER: Let’s get to the point.

VON SCHREIBER: (To ZELLER) If you don’t mind. (To
CAPTAIN.) In our.Navy we hold you in very high regard
That explains why 1 am here. Having had no answer to
our telegram, the High Command has sent me in person.

CAPTAIN: That's very flattering, Admiral. But I’ve had no
time to consider—

(MARIA enters on balcony. She is carrying two Festival
programs and is in her Concert costume.)

VON SCHREIBER: I am hete to present you with your com-
mission,—

CAPTAIN: I am deeply conscious of the honor, sir, but—

VON SCHREIBER: And your orders are to report immediately
to the naval base at Bremerhaven.

-93-

MARIA: (Coming downstairs, with feigned innocence)
Immediately? Oh, I’m afraid that would be impossible
for you, Georg.

CAPTAIN: (Crosses D.R.) Admiral, may | present my wife,
the Baroness von Trapp, Admiral von Schreiber.

VON SCHREIBER: Madame!

MARIA: (Crosses to VON SCHREIBER) What I meant sir, is
that we are all singing in the Kaltzberg Festival Friday
night. (Children start entering on balcony.) You see—
the Von Trapp Family Singers—here in the program.

(She hands a program to VON SCHREIBER, then to

ZELLER.)

MAX: It’s been arranged by the Ministry of Education and
Culture:

VON SCHREIBER: Friday night? This is Wednesday, That’s
only a matter of two days. It might be possible. You
could report to Bremerhaven by Monday

ZELLER: (Protesting) Admiral!

VON SCHREIBER: Is there a telephone I could use?

MAX: This way, Admiral. If there is any question, perhaps
adding the weight of my voice~ (They exit D.L.)

ZELLER: (To CAPTAIN) It gives here only the names of
the children

CAPTAIN: (Quickly) It says the Von Trapp Family Singers.
I'm head of the Von Trapp Family.

ZELLER: It’s hard to believe, Captain von Trapp—you
singing in a concert.

CAPTAIN: (Cooly) Herr Zeller, you may believe what you
choose.

ZELLER: (Crosses to CAPTAIN) It doesn’t say here what
you’re going to sing. What are you going to sing,
Captain?

CAPTAIN: It’s your privilege to come to the concert and
hear us.

-94-

ZELLER: !’d like to hear you sing now. Sing what you're
going to sing in the concert. Sing!
MARIA: (Singing) Do, re, mi, fa, So, la, ti— Liesl, will
you give us a do?
(LIESL blows a “do” on a pitch pipe.)
MARIA and CHILDREN: (Singing to ZEL
Doe, a deer, a female deer,
Ray, a drop of golden sun,
MARIA: (Facing ZELLER)
Me, a name I call myself
(She gestures behind her back for the CAPTAIN to
sing. He comes in, explosively, a beat late.)
CAPTAIN: Far, a long, long way to run
(Blackout)

‘R)

ACT Il
Scene 6

The stage of the Concert Hall, Kaltzberg. As the
lights come up and the music decreases in volume we hear
the voices of the Von Trapp Family in a concert arrange-
ment of “Do Re Mi.” As the lights come to full we see
they are in concert position and in Austrian folk costume.
They are standing in front of the kind of velour curtain
typical of a provincial concert hall. There is a microphone,
L. The VON TRAPPS continue to sing:

MARIA: (Singing)

So, a needle pulling thread
CHILDREN: A needle pulling thread
CAPTAIN: La, a note to follow so
CHILDREN: A note to follow so
MARIA: Ti, a drink with jam and bread
CHILDREN: A drink with jam and bread
CAPTAIN: A drink with jam and bread

pigae.

CHILDREN A: Jam and bread
CHILDREN B: With jam and bread
CHILDREN A: Tea with jam and bread, jam and bread, jam
and bread

Tea with jam, jam and bread

Tea with jam, tea with jam,

Jam and bread

With jam, with jam

Do, re, mi

ABCDEFG

With jam and bread

Fa'la la la
CHILDREN B: With jam and bread
ALL: ‘Tea with jam and bread

With jam and bread

With jam and bread, (The song ends.)

(They, accept the audience’s applause. MAX brings on

the CAPTAIN’s guitar, hands it to him and exits. FRIED-
RICH gets a chair from behind the curtain. The CAPTAIN
sits on the chair, C, MARIA and the children sit on the
floor S.R. The CAPTAIN sings, plays introduction on
guitar.)
CAPTAIN: Edelweiss, edelweiss,

Ev'ry morning you greet me.

Small and white, clean and bright,

You look happy to meet me.

Blossom of snow,

May you bloom and grow,

Bloom and grow forever—

Edelweiss, edelweiss,

Bless my homeland forever.

Edelweiss, edelweiss,
Every moming. .
(He is looking at MARIA intently and stops singing.)

-96-

MARIA and CHILDREN: (Singing)
Small and white, clean and bright—
(The CAPTAIN picks up the song again.)
CAPTAIN: You look happy to meet me.
Blossom of snow
May you bloom and grow,
Bloom and grow forever—
Edelweiss, edelweiss,
Bless my homeland forever.
(MAX enters L. and addresses the applauding audience
over the microphone.)

MAX: Thank you, ladies and gentlemen. Thank you. (The
family starts off stage R. MAX stops them.) Just a mo-
ment. I have an announcement that concerns you. (Into
the microphone.) Ladies and gentlemen, the Festival
Concert has come to its conclusion—except of course,
we don’t know what the conclusion is going to be. The
judges are putting their heads together to arrive at their
decision, and while we are waiting I think there should
be an encore. It seems this may be the last opportunity
the von Trapp Family will have to sing together for a
long, long time. (MARIA and GEORG exchange a
troubled glance.) I have just been informed that Captain
von Trapp leaves immediately after the concert for his
new command in the naval forces of the Third Reich. A
guard of honor has arrived to escort him directly from
this hall to the naval base at Bremethaven, (MAX looks
offstage L.., indicating the presence of the guard of
honor.) And now, ladies and gentlemen, the family von
Trapp again. (The CAPTAIN and MARIA confer briefly
and hurriedly. Then MARIA goes to the children and
whispers some instructions to them. They line up ac-
cross the stage and sing with a slight edge of appre-
hension. MARIA nods to conductor.)

-97-

MARIA: (Singing)
‘There's a sad sort of clanging
From the clock in the hall
And the bells in the steeple, too
And up in the nursery
An absurd little bird
Is popping out to say ‘‘coo-coo””
CHILDREN; Coo-coo, coo-coo
CAPTAIN: Regretfully they tell us
But firmly they compel us
To say goodbye to you
ALL So long, farewell, auf wiedersehen, good-
night.
KURT and MARTA:
We hate to go, and miss this pretty sight
(KURT and MARTA exit S.R., glancing back nervously)
ALL: So long, farewell, auf wiedersehen, adieu
FRIEDRICH and LIESL:
Adieu, adieu, to yieu and yieu and yieu
(FRIEDRICH and LIESL exit 8.R.)
ALL: So long, farewell, auf wiedersehen, goodbye.
LOUISA and BRIGITTA:
We flit, we float, we fleetly flee, we fly
(LOUISA and BRIGITTA exit S.R.)

ALL: So long, farewell, auf wiedersehen, goodbye.
GRETL: ‘The sun has gone to bed and so must I,
Goodbye!
(GRETL. exits S.R.)
MARIA: Goodbye
CAPTAIN: Goodbye
BOTH: Goodbye.

(MARIA takes the CAPTAIN’s hand and they exit S.R
MAX joins in the audience’s applause and watches the von
Trapps off. Then he turns to see an envelope that is being

- 98 -

held out to him from offstage, L. He takes it and goes to the

microphone.)

MAX: Ladies and gentlemen, | have here the decision of
our distinguished judges. (He looks at the paper, then
looks off after the von Traps. He is stalling.) We will
start with the third award. For this honor, the judges
have named the trio of the saengerbund of Herwegen.

(He gestures R. The trio enters R., bows and exits.)
The second award has been given to Fraulein Schweiger,
the first soloist of the choir of St. Agathe’s Church in
Murbach. (He gestures R. FRAULEIN SCHPEICER en-
ters R., bows and exits. MAX looks offstage L. as if to
reassure himself it is safe to proceed.) And the first
prize—the highest musical honor in the Ostmark—goes
to the family Von Trapp— (Ile gestures R. The family
Von Trapp does not appear.) The family Von Trapp
(He again gestures R. There is a commotion offstage 1..
and R.)

OFF-STAGE VOICES: Where are they—the Von Traps?
They’re gone! — Gone? — The Von Trapps! — Which way
did they go? — Where are they? — Call the guard! —
Hauptmann, take the first road! Ullrich, block the drive-
way! Steinhardt, call district headquarters!

(The commotion mounts.)

MAX: (To the orchestra) Play something! (He exits hurriedly
L, THE LIGHTS DIM ALMOST TO BLACKNESS,
Thiee Men in S.S. uniforms run across the stage, 1. to
R. Whistles and shouting voices are heard.)

ACT IL
Scene 7

The garden of Nonnberg Abbey. The Abbey itself is on
S.L., and there is alarge single door opening from it into

-~99-

the garden. The rear wall of the garden has been hewn out

of the mountain. [tis low on S.L. and rises sharply to a

considerable height on S.R. At the rear of the rock wall of

the garden a path starts about C.S. and goes directly up

the mountain, disappearing off D.S.R. There is a wooden

railing on the upstage side of the path. At Rise: The garden
is in blackness. A few stars are seen in the black sky.

What little moonlight there is discloses the shadows of

the VON TRAPP family huddled as if in hiding. They are

wearing the native capes and hats and have a guitar case.

Their rucksacks are Lying at their feet. The door from the

Abbey opens stealthily and SISTER MARGARETTA slips

through it, closing it behind her. They all speak sotto voce.

SISTER MARGARETTA: They’ve only five more rooms to
search. It shouldn’t be long now.

CAPTAIN: How many of them are there?

MARGARETTA: I counted only eight storm troopers and
their officer.

MARIA: Sister Margaretta, we didn’t know we'd put the
Abbey in this danger.

CAPTAIN: It’s outrageous, The church has always been
sanctuary

MARGARETTA: Not with these people. This is the third
time they’ve searched the Abbey,

MAN’S VOICE: (Offstage) Look there!

(There is a frightened pause.)

MARGARETTA: That’s why we put you out here in the
garden. They always search the inside—never the out-
side.

GRETL: (In full voice) Isn't this God’s house?

CAPTAIN; Ssh! Yes, darling.

MARGARETTA: (To GRETL) We must all be very, very
quiet. We'll let you know when they’ve gone (She exits
into the Abbey.)

- 100 -

MARTA: After they’ve gone, can we go home?

CAPTAIN: No, darling, we have a long drive ahead of us.

(LIESL has drifted to the far side of the garden.)
MARIA: Liesl, let’s all stay close to each other.

(LIESL starts back as the door L.. opens suddenly.
ROLF enters dressed in S.S. uniform. He plays a flashlight
across the stage. The light first reveals MARIA. The
CAPTAIN starts toward ROLF. ROLF flashes the light
on the CAPTAIN's face, at the same time drawing his
pistol. The CAPTAIN stops short.)

ROLF: (Calling over his shoulder) Lieutenant! (As ROLF’s
head turns back, his flashlight beams directly on the
face of LIESL. There is a hushed moment as she looks
pleadingly at ROLF. From a distance we hear the LIEU-
TENANT’s footsteps as he approaches. The sound
draws nearer and nearer. Suddenly ROLF turns and calls
through the door.) No one out here, sir!

LIEUTENANT’S VOICE: (Offstage) All right! Come along!
(The sound of the footsteps now indicates that the
LIEUTENANT has turned and is walking away. ROLF takes

one last look at LIESL, then exits quickly, slamming the

door behind him. LIESL runs into her father’s arms with a

sob.)

CAPTAIN: Sh-h-h' (We hear the sound of an automobile
starting. The family stands frozen. The sound fades
into the distance.) Thank God!

(The MOTHER ABBESS and SISTER MARGARETTA
enter.)

MOTHER ABBESS: (Full vice) They've gone!

CAPTAIN: Reverend Mother, we are sorry we brought this
on you.

MARIA: (Crosses L. of MOTHER ABBESS) Reverend
Mother, we can never thank you.

CAPTAIN: As soon as it’s safe, we'll start. We hid our
car deep in the woods

-101-

MOTHER ABBESS: The car will do you no good. They’ve
left a guard on the road in front of the gate

MARGARETTA: I’ve been listening to the wireless, All
the roads are blocked The border’s been closed

(CAPTAIN looks at mountain.)

CAPTAIN: (Crosses D.R.) V've always thought of these
mountains as my friends—standing there protecting us
Now they seem to have become my enemies.

MOTHER ABBESS: Never your enemies. Haven’t you read?—
“| will lift up mine eyes unto the hills from whence
cometh my help.”

MARIA: (Crosses to L. of CAPTAIN) Georg, 1 know that
mountain as well as ] know this garden. And so do you
And once we’re over that mountain, we're in Switzer-
land.

CAPTAIN: But the children!

MARIA: We can help them

KURT: (Crosses to R. of CAPTAIN) Father, we can do it
without help

MOTHER ABBESS: (Crosses between MARIA and CAPTAIN)
You'll have help. “For Ye shall go out with joy, and be
led forth with peace; the mountains and the hills shall
break forth before you into singing.” (The lights dim
D.S. and build U.S. MOTHER ABBESS sings.)

Follow every rainbow
Till you find your dream
(The family, led by MARIA, pick up their rucksacks,
and start out putting them on. The CAPTAIN picks up

GRETL. KURT takes guitar case. SISTER BERTHE and

SISTER SOPHIA enter and join the MOTHER ABBESS in

singing, as does SISTER MARGARETTA.)

A dream that will need all the love you can
give

Every day of your life for as long as you
live.

~ 102 -

(The other nuns come on and swell the volume of this
chorus, We see MARIA, followed by the children, start up
the mountain path. At the rear is the CAPTAIN with
GRETL on his shoulders.)

Climb every mountain,
Ford every stream,
Follow every rainbow
Till you find your dream.

(MARIA and the rest of the family are about to dis-
appear along the path as~ The Curtain Falls)

- 103 -